The installations take
her work on canvas out of the studio into a larger context in which she can isolate certain specific concerns.
Not exact matches
Over the last few years, Adams has been
working on a series of paintings that feature bold chevrons running across the
canvas, or diagonal lines radiating
out from a triangle anchored to the bottom of the
canvas.
Speak, breathe, prophesy, preach, get behind a pulpit, mark exam papers, run a company or a non-profit, clean your kitchen, put paint
on a
canvas, organize, rabble - rouse,
work the Love
out and in and around you, however God has made you to do it, just do it.
She gathers up the scraps of pie dough, scrunches them together, and then rolls them
out into a level
canvas on the steel
work surface.
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).
the interview was very informative and it makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will
work out sales special interest groups in other social networks this is just another journey a new color
on the
canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints of my
work all with in a week end among friends I have now professionally digitized my
work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all
Work out where your still life should sit
on the
canvas by trying different things
out, and keep a rag next to you to wipe off any lines you don't want.
Hansa artists»
works represented in the Grey show include Jane Wilson's Portrait of Jane Freilicher (1957), an oil
on canvas merging abstraction with figuration, and Jean Follett's Many - Headed Creature (1958), a piece that recreates a fragmented body
on a wood panel
out of junk and found objects — a light switch, socket cooling coils, a window, a screen, nails, a faucet knob, mirror twine, cinders, a caster, springs, and rope.
Margaret: I rarely make more than idea sketches, but do draw it
out in pencil
on canvas first when
working perceptually.
Michael Raedecker has
worked from this bland utopia for years, picking it
out in thread
on monochromatic
canvases.
She uses odd humor, interior logic, and palimpsest - like surfaces — evidence of her
working everything
out on the
canvas, to create paintings of abstract characters in imaginary worlds.
You never thought, «Oh, this is an idea that I could
work out on canvas?»
Executed only a few months before his death, the
work shows Warhol in the signature peroxide fright wig of his late career, staring starkly
out from the
canvas in an emotionally arresting vision that confronts the reality of time head
on.
Among the very large
works are BK - 002 (2006), image above, BL - 060 (2005), a twelve - foot wide blue ballpoint pen
work on canvas that suggests the solid mass of a hill suspended above or dissolving into nothingness, and BL - 071 (2005), a similarly massive
work that offers up another motif common to Lee's
works on canvas and paper — a field of seemingly vibrating forms appears
out of an expanse of markings.
Commonly
working with the
canvas laid
out on a table in front of her, she painted at such close quarters that it was almost impossible for her to see the whole picture while she
worked.
In Red Figure, 2017, acrylic
on canvas, 122 x 152 cm, the last
work completed, a naked female figure in strong red hues, casually seated with a strong poise, holds
out her arm with a decapitated male head in the palm of her hand.
Of the themes that define my waking hours and whose influence is undeniably woven into in the
work, the most palpable one, playing
out on the
canvas of late, is an obsession with time — as a resource, as a thief, as a constant shadow.
Her
work is full of thighs, bellies, wounds, surgeries and corpses, spread
out on monumental
canvases in thick oil and murky charcoal.
The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped
out of existence, their
canvases used as the supports for other pieces.8 Though artists throughout history have created new
works on used
canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....
In the large enamel and oil
on canvas, Number 7, 1952, one can see not only a head, but also Pollock's own footprint in the upper right corner, and the exhibition catalogue points
out that Pollock's re-engagement with more overtly figurative
work may have been due in part to his time staying at Ossorio's home.
In contrast to many of his contemporaries who were moving
out of the studio and away from painting, Quaytman remained committed to
working on canvas and to pushing the modernist idiom in a new direction with monumental shaped
canvases that demonstrated his unique vision and style.
Back in New York in 1953, he made paintings
out of substances as varied as gold and dirt, returning to paint to
work, this time, primarily in red
on canvas enriched with fabric swatches, newspaper, and bits of wood.
Everything Will
Work Out in the End, If It Hasn't it's Not the End, 2016, hand - dyed
canvas, rope, oil
on canvas, 55 x 46 x 26 inches
Even in his abstract paintings, when he abandons geometry and stylised elements and spreads
out the paint
on canvases in an «illogical» way, it is possible to recognise shapes and patterns that have always characterized his
work.
Her initial representational painting would be done from life,
out in the open air, then she would take the
canvas home to her studio and
work over it so that it took
on an emotional resonance — something she described as: «that memory or dream thing I do that for me comes nearer reality than my objective kind of
work».6 She painted
on canvas with a very fine weave and coated it with a special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.
But walking through this retrospective, I was entirely convinced by these familiar
works with their sequinned outlines of figures and bead - effect dots marking
out subjects, densely patterned designs
on canvases supported by shiny round elephant turds.
«One of the goals behind Vitality and Verve is to spotlight artists who are stepping
out of their studios to paint
on a grand scale using outdoor walls as their
canvas as well as urban artists who are beginning to
work in a traditional studio setting.»
A lot of the artists who I looked at while I studied — Charline von Heyl, Amy Sillman, for example — talk about painting as an open process, where the finished piece is a result of ideas that are
worked gradually
out on the
canvas.
Other highlights of this auction include Lot 20, «Duridium,» a 26 - by - 36 inch magna
on canvas, dated 1964, by Roy Lichtenstein (1923 - 1997), estimated at $ 600,000 to $ 800,000, which sold for $ 607,500; Lot 21, «Ileana Sonnabend,» a 1963 metallic paint
on canvas, 77 3/4 - by -128-inch
work by Frank Stella (b. 1936) that has a high estimate of $ 600,000, and which sold for $ 684,500; Lot 29,» Evening in the Studio,» a monumental painting that
out - Rubens Rubens by Lucian Freud and has an ambitious high estimate of $ 3,500,000, and which sold for only $ 2,422,500; Lot 30, «Lying Figure,» a large, interesting composition by Francis Bacon (1909 - 1992) that has an ambitious high estimate of $ 2,500,000 and is starker than his more painterly small
works, and which was passed at $ 1,600,000; Lot 35, «Bedouin (Personage Gris et Rougeatre),» a great Jean Dubuffet (1901 - 1985) painting that is conservatively estimated at $ 700,000 to $ 900,000 and which sold for $ 992,500; and Lot 46, «Aux Bons Principes,» a more colorful but not as strong Dubuffet that has an ambitious high estimate of $ 3,000,000, and which sold for $ 2,202,500; and Lot 63, an untitled, large painting by Sigmar Polke (b. 1941) that has a mysterious, luminous and mystical sense of a great mountainscape by the Sung Dynasty masters of China and has a conservative high estimate of $ 300,000, and which was passed at $ 150,000.
In the film Schnabel remarks: «I started to use different kinds of materials because I was looking for some kind of new way to paint...
working with things that already exist affords you associations that are beyond your invention... I see opportunities everywhere as paintings, in images that already exist, in surfaces that will repsond to paint a certain way, or it might come from an accident... I realized a picture could be the architecture of a painting... so I would select thigns that already had pictures - images of things impregnated
on them - and then I could treat them as a blank
canvas... let them inform what I was doing and make me react to what was there and come
out with a hybrid painting... it has a much to do with reacting rather than acting.»
In his Number Structure
works Nakamura graphs
out number - structure patterns and calculations
on canvas and paper to be presented as art.
His current
work is an exploration of feeling, memory and a unique vision laid
out on canvas in a style which is both original and inviting and offers a fresh, new look at color and form.
His allegiance to the stretched
canvas was so unlike anything else shown in France at that time — an era dominated, in terms of avant - garde painting, by the Supports / Surfaces dogma of the loose
canvas (la toile libre, literally the «free»
canvas, freed from the stretcher)-- that he exerted a powerful fascination
on younger painters even though they could barely figure
out his
work.
Almost instantaneously, there was a realization that Schnabel and Salle's
work was coming
out of Color Field painting — they used stained
canvases, but they placed images
on top.
«Trying to figure
out who I am and my
work is trying to understand systems,» says Julie Mehretu, shown
working with her assistants in Berlin
on seven large
canvases for a show at Deutsche Guggenheim.
Wightman's abstract
works are simpler, with the colours and forms
worked out first in small modelli
on paper; his landscapes are originated from found images, sketched in Photoshop and then transferred as cartoons to
canvas before collaging and painting.
Whether painting in plein air, or
working in the studio, I set
out each day
on a journey to bring the subtle contrast of light and dark onto my
canvas through the use of oil paints with a mixture of brush and knife.
Complex underlying structures caused the
canvases to bulge or reach
out along the wall or into the room; a sequence of 12, gradually changing forms was based
on the pages of a calendar from which successive pages had been torn; and finally, in
work from 1972, the architectonic quality of the paintings was discarded in his Kite Paintings, in which unstretched, painted
canvases were suspended from rods and interrupted by cords and threads hanging off and passing through them.
That's how he embarked
on a strain of pure painting that seemed quite radical at the time:
working with a prestretched
canvas and unmixed oil paints, and figuring
out his composition as his brush moved across the
canvas.
Starting
out with painting, Toivonen
worked with different techniques, such as oil and charcoal
on canvas and chalk
on chalkboard, eventually experimenting towards a more conceptual outcome, using him self or a dead animal as means of painting.
Dorothy Iannone, «Let me squeeze your fat cunt,» 1970 - 71, acrylic and collage
on canvas, 74.8 ″ x 59.1 ″ In Time
Out, Howard Halle reports that the freshly resurrected career of Dorothy Iannone, born in 1933 in Boston and currently living and
working in Berlin, is a good example of an older, underappreciated artist who benefited from... read more... «Dorothy Iannone's career: «A long time coming»»
In the continuity of his
work on urban architecture and perspective, Thomas Canto, goes
out of the frame with lines that escape the
canvas, creating
works halfway between painting and sculpture.
As in the past, he
works on his
canvases flat, spreading
out the paint with the aid of spatulas or scrapers over a base of wet rabbit - skin glue, the drying time of which determines the duration of the piece's execution — a few hours at most.
Cutting
out the edges of dollar bills and placing them in overlaid pattern against his
canvas, while affixing an empty till at its center, the artist is commenting
on the
work's use - value in society.
His sensitive and humorous observations of life's little moments were played
out on various sized
works including a 12» x 8»
canvas that contained such milestones as his wedding, a cousin's funeral and a bizarre morning commute in which a fire blazed outside the window.
These
works appear to coalesce in a series of paintings
on unstretched
canvas where the corners protrude
out and become sculptural.
When, during the production of the wall painting, black acrylic dust spread around the room, Czerlitzki caught it
on white - primed
canvases, thus generating the so - termed ««dust pieces»
out of a side - product of the wall - hung
work.
«Inside
Out» will include a selection of 16 to 18 Deborah Buck's
works on paper and large - scale oils
on canvas.
«BASQUIAT: The Unknown Notebooks» @ Brooklyn Museum Brooklyn, N.Y. Rife with doodles, fragmented phrasing and recurring motifs, Jean - Michel Basquiat «s famous
works often look like he was
working his ideas
out on the
canvas.
Prince even went a step further (as expected)-- after being kicked off the site for posting his infamous
work from 1983's series Spiritual America, featuring 10 year old Brook Shields posing naked, Prince re-emerged
on the site by printing
out postings from celebrities
on canvas, re-photographing them, and posting them anew to his own feed in his own twist
on the #regram, turning his Instagram account into a conceptual art project.