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painting

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Published: 01 July 2017
Figure 1 Rhunhattan Tearoom , September 2015, installation with acrylic painting and decal collage on ceramics, ink on paper, scent. Dimensions variable. This was a sensory feast of sight and smell referencing seventeenth-century spice wars. Botanical, cartographic, and archival imagery More
Image
Published: 01 November 2014
Figure 6 Mira Schor, Reversible Painting: Theory/Visual Pleasure , 2013. Ink and oil on gesso on linen, 28 × 24 in. Figure 6. Mira Schor, Reversible Painting: Theory/Visual Pleasure, 2013. Ink and oil on gesso on linen, 28 × 24 in. More
Image
Published: 01 November 2014
Figure 9 Mira Schor, Reversible Painting: Map , 2013. Ink and oil on gesso on linen, 28 × 24 in. Figure 9. Mira Schor, Reversible Painting: Map, 2013. Ink and oil on gesso on linen, 28 × 24 in. More
Image
Published: 01 November 2017
Figure 2 A student protester throws a painting by Keresemose Baholo on a burning pile of other artworks at the University of Capetown on February 16, 2016. Photography by Ashleigh Furlong/GroundUp (CC BY-ND 4.0) Figure 2. A student protester throws a painting by Keresemose Baholo on a burning More
Image
Published: 01 November 2008
Eisenhower painting. Dwight D. Eisenhower Library, Abilene, Kansas. Eisenhower painting. Dwight D. Eisenhower Library, Abilene, Kansas. More
Journal Article
Cultural Politics (1 July 2013) 9 (2): 212–218.
Published: 01 July 2013
...Jean-François Lyotard In this interview, originally given in 1988, Jean-François Lyotard discusses his then recently published book, Que Peindre? Adami, Arakawa, Buren ( What to Paint?: Adami, Arakawa, Buren ), situating it in the context of his broader interest in art and in terms of his...
Journal Article
Cultural Politics (1 November 2013) 9 (3): 357–370.
Published: 01 November 2013
... principles of postwar council estate planning and the later negative social and aesthetic stereotyping of these estates. Next, it discusses how Shaw's paintings appear to cope with this struggle by “spectrally wavering” between a visualization of Tile Hill as remembered from his childhood and as it is in its...
Journal Article
Cultural Politics (1 July 2013) 9 (2): 219–226.
Published: 01 July 2013
...Leon Phillips © 2013 Duke University Press 2013 I recently experienced a difficult creative block, which led me to switch my painting medium from acrylic to watercolor. For many years I had poured acrylic paint as part of a process-oriented method of making paintings. That is to say, the...
Journal Article
Cultural Politics (1 November 2012) 8 (3): 489–494.
Published: 01 November 2012
...Susanne Slavick Horsepower Hubris presents hand-painted digital prints that examine vehicles as both weapons and targets of war. Painted motifs and passages borrowed primarily from Persian miniatures combine with contemporary media images of wartime destruction, exposing what has been lost...
Image
Published: 01 July 2019
Figure 1 Mladen Miljanović, Strike 1 , 2017. Engraved drawing and paint on granite. Museum of Contemporary Art of Republic Srpska, Banja Luka. Photograph by Drago Vejnović. Courtesy the artist. Figure 1. Mladen Miljanović, Strike 1, 2017. Engraved drawing and paint on granite. Museum of More
Image
Published: 01 March 2016
Figure 1 Creeping Ornamentalism: Vermont Covered Bridge , 2012. Hand-painted acrylic on paper collage. Detail: approx. 36 × 24 in. Figure 1. Creeping Ornamentalism: Vermont Covered Bridge, 2012. Hand-painted acrylic on paper collage. Detail: approx. 36 × 24 in. More
Image
Published: 01 March 2016
Figure 2 Moral Hazard: The Low Road (Spitzer) , 2009. Hand-painted acrylic on paper collage. 72 × 14 in. Figure 2. Moral Hazard: The Low Road (Spitzer), 2009. Hand-painted acrylic on paper collage. 72 × 14 in. More
Image
Published: 01 March 2016
Figure 3 Moral Hazard: The Low Road (Edwards) , 2009. Hand-painted acrylic on paper collage. 72 × 14 in. Figure 3. Moral Hazard: The Low Road (Edwards), 2009. Hand-painted acrylic on paper collage. 72 × 14 in. More
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Published: 01 March 2016
Figure 4 Moral Hazard: The Cons , 2009. Hand-painted acrylic on paper collage. 72 × 28 in. Figure 4. Moral Hazard: The Cons, 2009. Hand-painted acrylic on paper collage. 72 × 28 in. More
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Published: 01 March 2016
Figure 5 Moral Hazard: The Cons , 2009. Hand-painted acrylic on paper collage. 72 × 28 in. Figure 5. Moral Hazard: The Cons, 2009. Hand-painted acrylic on paper collage. 72 × 28 in. More
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Published: 01 March 2016
Figure 7 Moral Hazard II: Eurostyle , 2012, detail. Hand-painted acrylic on paper collage. Figure 7. Moral Hazard II: Eurostyle, 2012, detail. Hand-painted acrylic on paper collage. More
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Published: 01 March 2016
Figure 8 Moral Hazard II: Eurostyle , 2012, detail. Hand-painted acrylic on paper collage. Figure 8. Moral Hazard II: Eurostyle, 2012, detail. Hand-painted acrylic on paper collage. More
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Published: 01 March 2016
Figure 9 Green Men: Griffin , 2011. Hand-painted acrylic on paper collage. 8 × 18 in. Figure 9. Green Men: Griffin, 2011. Hand-painted acrylic on paper collage. 8 × 18 in. More
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Published: 01 March 2016
Figure 10 Green Men: Tony Hayward, BP , 2010. Hand-painted acrylic on paper collage. 26 × 18 in. Figure 10. Green Men: Tony Hayward, BP, 2010. Hand-painted acrylic on paper collage. 26 × 18 in. More
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Published: 01 March 2018
Figure 5 Untitled (Alcoholism) , urethane paint on wood, 44 × 39 × 2 in., 2017. Courtesy of the artist and Kavi Gupta Gallery. Photo by PD Rearick Figure 5. Untitled (Alcoholism), urethane paint on wood, 44 × 39 × 2 in., 2017. Courtesy of the artist and Kavi Gupta Gallery. Photo by PD Rearick More