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altered art canvases
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Blood Red Grass – 24W x 16H – Peel and Stick Wall Decal by Wallmonkeys $33.99 WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l… |
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Conserve De Maïs – 24W x 16H – Peel and Stick Wall Decal by Wallmonkeys $33.99 WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l… |
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- 24W x 16H – Peel and Stick Wall Decal by Wallmonkeys $33.99 WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l… |
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Logo Design Studio $0.84 From one logo you can create unlimited new looks simply by adjusting the colors, fonts, shapes and effects. Import your own graphics or pictures to further personalize your look. Add artistic style to your text with circular, wavy, projective and outline text. Use the included TrueType fonts to sharpen your look. Make a visual impact with shadows, frames, blurs and embossing. Get the Summitsoft Lo… |
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The Complete Guide to Altered Imagery : Mixed-Media Techniques for Collage, Altered Books, Artist Journals, and More $4.40 A wide range of techniques borrowed from both traditional and digital art has recently begun to blend into one art form, known as altered art. The Complete Guide to Altered Imagery is the only book currently on the market that provides fascinating tips and creative ideas solely focused on this new form of art. An in-depth discussion manipulation techniques is supplied, making this an essential han… |
Altered Art on canvas
Exhibitions At The Irish Museum Of Modern Art – Programme For 2010
Exhibitions: Temporary Programme
The temporary exhibitions programme got underway with exhibitions by Cuban-American Jorge Pardo and Irish artist Anne Tallentire which continue until 3 May. Widely regarded as one of the most inventive artists of his generation, Pardo follows his participation in IMMA’s 2006 Lunar Reggae show with an exploration of the place of art within new media. His highly conceptual virtual retrospective takes the form of photomural wallpaper, covering the entire gallery space and incorporating every aspect of the exhibition. Anne Tallentire, much praised for the originality of her work, presents recent projects and related pieces focusing on how the ordering, or disordering, of things can signify everyday social and cultural determinants. Juxtaposing action, object and image she employs a range of media from text to photography and film. The exhibition includes a number of collaborative projects, another regular feature of Tallentire’s work.
Exhibition: Francis Alys
An exhibition by leading Belgian-born experimental artist Francis Alys continues until 23 May, inspired by his personal observations from the many cities to which his compulsive wanderings have taken him. Alys works in a variety of media, and at IMMA presents his major series of paintings, Le Temps du Sommeil, which now numbers 111 works; some still being works in progress. The series travels to Tate Modern in June, the first stage in a major international retrospective of Alys’s work.
Exhibition: Vertical Thoughts
Morton Feldman and the Visual Arts From 31 March the exhibition Vertical Thoughts focuses on the work of the influential 20th-century American composer Morton Feldman and the many celebrated visual artists with whom he was closely associated. In 1967 Feldman curated an exhibition entitled Six Painters in Houston, Texas, and Vertical Thoughts takes its inspiration from that, presenting the work of such legendary figures as Philip Guston, Franz Kline, Willem de Kooning, Piet Mondrian, Jackson Pollock, Mark Rothko and many others not featured in the 1967 show. The exhibition also includes music scores, record covers, photographs and documents, as well as Oriental rugs, which influenced the composer’s work. A film and music programme will accompany the exhibition.
Exhibitions: Carlos Caraicoa and Ferran Garcia Sevilla
The Latin flavour continues on 9 June with exhibitions by Cuban artist Carlos Garaicoa and Spanish painter Ferran Garcia Sevilla. Employing a multi-disciplinary approach embracing architecture, narrative, history, and politics, Carlos Garaicoa uses his native city of Havana as a laboratory to construct provocative commentaries on a range of contemporary issues. These include architecture’s ability to alter the course of history, the failure of modernism as a catalyst for social change and the decay of 20th-century utopias. Ferran García Sevilla’s eclectic style draws on his world travels, and on comic books, urban graffiti, philosophy and Eastern cultures, resulting in sensuous open spaces in which everything, including iconography and ideas, blends together. His raw, colorful, primitive canvases are often peppered with caustic, hand-scrawled commentaries on life and politics.
Collection Exhibitions at The Irish Museum of Modern Art
The Museum’s Collection takes centre stage from 20 October, when all of the galleries will be devoted to the first of a two-part exhibition of works from IMMA’s own Collection. This will be the first time that the entire Museum has been given over to the Collection, in an ambitious project leading up to and continuing into IMMA’s 20th anniversary year in 2011. Part one of the exhibition, entitled, The Moderns, will trace important artistic events and developments from the early 1900s to the 1970s, presenting some 100 artists through approximately 250 works. In addition, key pieces from other public and private collections will help to form the historical and contextual thread of the exhibition.
Exhibitions: What Happens Next is a Secret and Altered Images
Another Collection exhibition, entitled What happens next is a secret, runs until 18 April. This addresses the intriguing question of what happens when works become part of a collection and are subsequently shown in different contexts. During the course of the exhibition works will be removed, pointing to the often hidden nature of museum collections, while replacements will create new associations. Works from the Collection are also featured in Altered Images, which aims to stimulate engagement with the visual arts by the general public and particularly by those with disabilities. A joint project between Mayo County Council, South Tipperary County Council and the Irish Museum of Modern Art, as part of the Museum’s National Programme, the exhibition has already met with an extremely positive response when shown in Clonmel and Ballina in 2009. Meanwhile, the carefully-planned growth in the Collection continues with the acquisition in 2009 of 52 prints by the celebrated American-born artist Mary Farl Powers, generously donated by the artist’s family, and other donated works, including those by Lynda Benglis, Alan Phelan and a joint work by Seamus Heaney and Felim Egan.
Exhibitions: Personal Collection of Brian O’Doherty and Barbara Novak
This most welcome trend continues in 2010 with the gift of several works from the personal collection of artist Brian O’Doherty and art theorist Barbara Novak. The collection ranges across American art of the 20th century, particularly that of the 1960s and ‘70s, and includes the work of such celebrated artists as Edward Hopper, Jasper Johns and Robert Rauschenberg. An exhibition from the collection will open on 8 September. A further gift of some 30 fine art prints by the Graphic Studio Dublin, being made to mark the studio’s 50th anniversary, will also be celebrated with an exhibition, again opening on 8 September, highlighting the role of fine art printing in the development of Contemporary Irish art.
Loans from the Collection
From 14 January to 27 February William Hogarth’s famous prints, A Harlot’s Progress, from the Madden Arnholz Collection at IMMA, are being shown as part of City of Women, at The Lab, Foley Street, Dublin. Loans from the Collection will also travel to the Aldrich Contemporary Art Museum, Ridgefield, Connecticut; the Grunwald Center for the Graphic Arts, Hammer Museum, Los Angeles; the Musée de la Ville de Strasbourg and the Sprengel Museum, Hannover. Meanwhile, the five-year loan of 22 works by Irish artists to the Irish Embassy in The Hague continues until 2012.
National Programme Exhibitions
In addition to the exhibitions at IMMA, the Collection will also be shown in a number of arts centres and other locations around Ireland, as part of IMMA’s National Programme, an area in which the Museum has led the way as a truly national institution over the past 13 years. In April an exhibition of work from the Weltkunst Collection on loan to IMMA since 1994 takes place at the Crawford Art Gallery, Cork. This significant collection of British sculpture and drawings of the 1980s and ‘90s will return to the Weltkunst Foundation in 2010 and this will be the last showing of works from this collection. In 2010 the programme will continue to develop its commissioning strand by supporting artists’ interventions in response to exhibitions such as Drawing: A performative action at the Cavan County Museum taking place in November. Exploring the physical nature of drawing the exhibition will include work from the IMMA Collection in a variety of media from traditional works on paper to performance work. Further projects with County Arts Offices will also be much in evidence in the coming year.
About the Author
The Irish Museum of Modern Art is Ireland’s leading national institution for the collection and presentation of modern and contemporay art. The Museum presents a wide variety of art in a dynamic program of exhibitions, which regularly includes bodies of work from its own Collection and its award-winning Education and Community Department. For more information visit www.imma.ie
Sigmar Polke, Whose Sly Works Shaped Contemporary Painting, Dies at 69
Mr. Polke’s sarcastic and vibrant layering of found images and maverick painting processes left an indelible mark on contemporary painting.
How could I make a 24″ by 18″ canvas digital?
In my graphic design class, we have worked with 24″ by 18″ canvas using traditional art methods. I want scan these works and alter them with Photoshop but have run into a problem. My home scanner would be great if it could scan papers larger than 8.5″ by 11″, but it does not.
What methods could I use to get these into a digital copy?
My desktop flatbed scanner won’t do an image larger then 8.5 inches by 14. So, I often have to scan the larger image in sections and then “stitch” the sections together in Photoshop.
Lets say that I have the larger image in four, separate scans. Each section should overlap the adjacent section by a bit.
In Photoshop, I open up a new image, four times the size of each individual scanned section. I open the scanned images, so a “select all” and then, in the new document, “place” it and move the section to the appropriate place on the new canvas. I repeat the process for the other three sections, “place”ing them on separate layers in the new document.
By carefully manuvering each layer, I can “mate” each piece so that, seen together, they appear to be one, single, large image. (playing with each layer’s transparency can help with matching up the overlapped areas)
When satisfied, the entire image can be flattened. However, I like to keep the layered image intact, and do a “save as” and flatten the copy. That way, if I find a problem on the larger image, with the correction, I can always go back to the layered version to make the necessary correction. In my experience, most often the problem is that the sections don’t align squarely with each other. Usually it is because the original wasn’t aligned squarely in the scanner when a section was scanned. Sometimes a slight adjustment by rotation is all that is needed to correct the problem.
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