#150 x 130 cm

[casualist-tendency]

[huariqueje]

The Star Splitter - Emma Haworth ,2024,

British , b. 1970s

Oil on canvas, 150 x 130 cm.

[389]

Dungeon Keepers I Stach Szumski Acrylic on canvas 130 x 150 cm

[antronaut]

Eugen Gomringer - Untitled (Wind). 1953/90

silkscreen on cloth 150 x 130 cm

[terminusantequem]

Helen Teede (Zimbabwean, b. 1988), Intimacy, 2020. Oil on canvas, 150 x 130 cm

[thunderstruck9]

Shara Hughes (American, 1981), I'm Tired, Harbor Me, 2009. Oil, acrylic and metallic paint on canvas, 130 x 150 cm.

[oncanvas]

Man Standing by the Pool, Ian Mwesiga, 2020

Oil on canvas 59 ⅛ x 51 ⅛ in. (150 x 130 cm)

[grundoonmgnx]

Marina Rheingantz, Maria Ruth. 2023

Oil on canvas, 150 x 130 cm

[badarchitecturesucks]

Peter Doig, Tour de Charvet, 1995. Oil on canvas, 150 x 130 cm.

[polishwomenartists-sztukakobiet]

Agnieszka Swoboda, Self-Portrait (no date) | Acrylic on Canvas , 130 W x 150 H x 4 D cm

"... heart pumps my blood, kidneys purify the emotions, face removed from the head for thoughts to flow like red, rapid stream..." via Artist's saatchi

https://palianshow.wordpress.com/2023/05/26/matkosc-eng/

#PolishWomenArtists #womensart #polishart #sztukakobiet #palianshow #agulaswoboda #art #sztuka #painter

[mybeingthere]

Teresa Pągowska, Day 1 (from the series "Days") | 1978 oil on canvas | 150 x 130 cm.

[zhivopis]

Paco Pomet, El frente (Oil on canvas. 150 x 130 cm. 2022)

[huariqueje]

A Season for Everything - Emma Haworth , 2024.

British, b. 1970s

Oil on canvas , 150 x 130 cm.

[theaskew]

Sophie von Hellermann (German b. 1975), Lilac, 2023. Acrylic on canvas, 130 x 150 cm. | 51 1/8 x 59 in.

[dbaco]

Drawing Machines #10

Michael Noll

#inspiração

A. Michael Noll é reconhecido como um precursor na arte computacional e animação, além de ter desempenhado funções diversas e notáveis ao longo de sua carreira. Foi Assessor de Ciências na Casa Branca, ocupou cargos de gestão e planeamento na AT&T, trabalhou como professor universitário e administrador, além de se destacar como autor, colunista, crítico de música clássica, arquivista e biógrafo. A sua produção literária mantém-se ativa, com foco em telecomunicações e temas relacionados.

Durante cerca de 15 anos, Noll realizou investigações fundamentais na Bell Labs, sendo pioneiro no uso de computadores digitais nas artes visuais e na animação estereoscópica, aplicando esses avanços tanto no domínio artístico como científico. No início da década de 1970, assumiu um papel de liderança na AT&T, identificando oportunidades para o desenvolvimento de novos produtos e serviços. O seu contributo académico inclui mais de 90 artigos publicados, seis patentes registadas e a autoria de 12 livros sobre diversos aspectos das comunicações. Desde 1990, produziu mais de 130 artigos de opinião em colunas de jornais de grande circulação e empresariais, além de mais de 30 críticas de música clássica para a Sociedade Clássica de Nova Jersey.

autor: A. Michael Noll titulo :Gaussian-Quadratic

Ano:1963 material: drawing, b/w, computer generated. Ink on paperSize: 19,5 × 13 cm (graphic), 27,8 × 21,8 cm (sheet) FORTRAN on IBM 7090, printed with Stromberg-Carlson 4020 microfilm-plotter

" In general, completely random two-dimensional pictures are not very interesting. However the computer is also able to mix together randomness and order in mathematically specified proportions to achieve a desired effect. The intial attempts at such mixing used Gaussian randomness for the X-axis co-ordinates but introduced a specified and non-rendom mathematical function for genrating the Y-axis co-ordinates. Gaussian Quadratic is a particularly good example of this mixing approach. Ninety lines join together 100 points whose horizontal positions are Gaussian. The vertical positions increase quadratically, i.e. the first position has a vertical position from the bottom of the picture given by 1^2 +5 * 1, the second point 2^2 + 5 * 2 , the third point 3^2 + 5 * 3, etc. The maximum picture size is limited to 1024 units wide by 1024 units high, and thus the 30th point would be off the top of the picture (30^2 + 5 * 30 = 1050 ) . To prevent this from happening, the vertical positions at the top are reflected to the bottom of the picture and then continue to rise. the result is a line that starts at the bottom of the picture and randomly zigzags to the top in continually increasing steps; at the top the line is ’ translated’ to the bottomto continue it’s rise. The standard derivation of the Gaussian density is 150. "

Michael A. Noll Referred from Page 153 Cybernetics, Arts and Ideas

[skipieohhhhh]

For over forty years, Bernard Frize has examined what it means to make a painting. Working in series, he has developed diverse protocols in order to undermine his own creative role and thus free his compositions of self-expression. For Frize, paint, resin, brush and canvas are not materials to be mastered, but collaborators with whom he enters into a working relationship. The terms of this partnership may vary from series to series, but ever-constant is the notion that the media itself is equally as important as the hand of the artist in determining the look and feel of a final painting. Subtle in some works and significant in others, the drips, pools, swirls, and blobs of paint found throughout Frize’s large colorful abstractions evidence his anti-auteur relationship to painting. Preferring to raise questions rather than provide answers, Frize invites viewers to consider the implications of process and materials (what is painting) on form and content (what is a painting).

OMENA, 2023

Acrylic and resin on canvas

150 x 130 cm | 59 1/16 x 51 3/16 inch

Unique

Bernard Frize’s paintings are neither narrative nor mutilated, but they owe their creation, in large part, to a kind of sanctioned degeneration. Unruly paint has been allowed to bleed over the artist’s own brushwork, complicating systematic strokes with smudges, swathes and stains whose amorphous hazy forms that suggest various celestial bodies. Managing to appear simultaneously vibrant and on the brink of ruin, the canvas reflects Frize’s complex and ever-evolving relationship to paint, the act of painting and what it means to be a painter.