Not exact matches
Camera (
color, HD), Monika Lenczewska; editor, Suzanne Spangler; music, Flying Lotus; music supervisor, Tiffany Anders; production designer, Cecil Gentry; set decorators, Jane Madden, Chris Scheid; costume designer, Chasia; sound, Woody Stubblefield; supervising sound editor, Trip Brock; re-recording mixer, Kelly Vandever; special effects makeup, Geneva Nash Morgan; visual effects supervisor, Jonas Drehn, Matt Bramante; visual effects executive producer, Gresham Lochner; visual effects, BaconX, Locktix; line producer, Gingi Rochelle; associate producers, Doug Patterson,
Fielder Jewett; assistant director, Jamar Hawkins; second unit camera, James David
Wall; casting, Kim Coleman.
This resource includes the following: 81 Spring words with illustrations (3 per page) 2 blank templates for your customization 1 Word
wall Label (8.5 x 11) 2 Word
wall Labels (4.3 x 11)
colored and black»n white 1 blank Word
wall Label for your customization The words include the following: April apple blossom awake baseball bike birds birth bloom blossom bright bunny butterfly breeze buds calf caterpillar cherry blossom chick chirp
colors daffodils daisy duck duckling Easter eggs fawn
field flowers frog fun furrow galoshes garden grass earth hat hatchling heat hoe ice - cream kite jacket ladybug lamb lemonade March May meadow mud mulch nest outdoor picnic rain rainbow raincoat robin roller skates sap sapling seed seeding shoot showers sky smell smile spade spring sprout sun thunder tulip umbrella warm water watering can worm yard (C) Nicole Hernandez A Teacher's Idea
The 80 - year - old Sam Gilliam, known for his ravishing
color -
field canvases that he sometimes drapes sculpturally on the
wall, painted a monumental canvas stained and splattered all over with hot pinks and reds, titled Red April (1970), in direct response to the assassination of Martin Luther King Jr. on April 4, 1968.
In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «
Color -
Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as
wall paper brushes, sticks, and trowels.
Often a white
wall or fabric serves as one
color field among many, as for Jean - Pierre Pincemin beneath his parallel stripes or for Mark Devade below his red squares and chevrons.
Worldwide recognition followed, though Stella's style, materials and affinities through
color -
field painting, prints,
wall reliefs and free - standing sculpture remained.
Langsam will feature a site - specific painting on the gallery
walls based on the original blueprints of the Neuberger Museum, layered and transformed by abstract
color fields, selected randomly by chance.
In his installations, he has created silver Celotex
walls that invite museum - goers to become vandals, and transformed shag carpets into grand echoes of
Color Field paintings.
A wave of backward glances, from the retrospective of Elizabeth Murray to «High Times, Hard Times,» has allowed the 1970s to get all over the
walls and floor in big
fields of
color.
The auras which sometimes surround the
color fields give them a luminous halo and a strange mix of stillness and drama, such as in the large «
wall of light,» Untitled, from 1952 - 53, which is part of the Guggenheim Museum Bilbao Collection.
A major influence on Pop Art, Minimalism, hard - edge and
color field painting, Ellsworth Kelly's best - known works are distinguished by sharply delineated shapes flatly painted in vivid
color, such as
Colors for a Large
Wall (1951).
Around the back, Franz Ackermann uses more
walls and larger
fields of
color, but with the casual glee of an amusement park ride.
His latest batch of brilliant, harlequin
wall - sculptures will adorn the
walls of James Kelly Contemporary beginning next Friday, March 25, and will be on view through May 7 in all of their lustrous,
color -
field splendor.
The convolutions of these chance felt fragments recall a disparate collection of memories — the quick gestures of a Joan Mitchell painting, the
color field forms of Morris Louis» stained canvases, the starkness of Robert Morris»
wall pieces — each imbued with aleatory process that accepts accident and chance.
Following some external impulse, such as any kind of noise visitors of the exhibition make, these machines draw lines on the
walls, conjoining modernist concerns of the grid, monochrome and
color field through a concept of interaction.
Frivolous interiors are layered with majestic landscapes; decorative
wall paper patterns overlap austere grids and
color fields.
Wafer - thin, 20 - grammige tissue papers were layered in succession by the artist in 16 different
colors and mounted in a grid of square
fields over the entire
wall.
While some pieces are gnarly tree formations isolated atop pedestals to illustrate their status, others are flat
wall - mounted compositions made of cast broom clippings and quinoa, that create large
color field paintings of, in fact, large colorful
fields.
Ilene Sunshine brings the outdoors in with her use of twigs and branches and cleverly reimagines the detritus of found plastic bags in a colorful large scale site specific installation which bisects the gallery space creating a
wall «of air» and pays homage to and playfully subverts formal concerns of mid century modernism and
color field painting.
Sam Gilliam (American, b. 1938) An American
color field painter, Gilliam is represented in the exhibition by Eiler Blues (1978), a
wall - size oil painting with embedded objects on stitched and unstretched awning canvas.
In the CANADA exhibition, the
colors are much more vibrant than anything found in Minimalism or Arte Povera — often applied through staining in the manner of the Greenbergian
Color Field painters — and the supports are mostly unstretched sheets of fabric (including a striped dishcloth) pinned to the
wall.
With every object, surface and
wall obsessively collaged, Suryajaya's installation is less a room and more a pure
field of
color and pattern with occasional interruptions of light and shade.
Each week, she will select a
color from Charlotte's landscape and apply it to the gallery
walls and furniture to create an immersive
color -
field painting and meditative space.
A trio of digitally - produced
color -
field, we learn, was crafted by running pieces of currency through some fancy filters on Photoshop — literally, money on the
wall.
Consequently, Salt's solo exhibition at the Ace Gallery not only reveals her prodigious aptitude at flawlessly laying down
color in the grand tradition of both wall and Color Field painting, but also her unique place in such schools of the mun
color in the grand tradition of both
wall and
Color Field painting, but also her unique place in such schools of the mun
Color Field painting, but also her unique place in such schools of the mundane.
It is a startlingly harmonious expansion that extends beyond the boundaries of each individual canvas to other Spot Paintings on adjacent
walls and in adjoining rooms, as each
colored circle begins to take on a different value when viewed in relation to the others within one's
field of vision.
They filled the
walls with lushly
colored flowers exploding from vibrant vases or teeming in pulsating
fields, along with dozens of friendly critters: rabbits, butterflies, an array of birds, a pair of squirrels daydreaming about acorns, a ladybug labeled «Madame Bug.»
A swish of
color field painting encompasses the Bridge
walls and ceiling adding reflective elements to create overlapping perspectives and optical illusions.
From Instructions, his 1989 guide to painting do - it - yourself «Stingels» — perhaps a satirical reaction to ego - fuelled 1980s painting — to his orange carpets that, from 1991 to the present day, have stretched over the floors and
walls of viewing spaces like an industrial version of
color field painting, Stingel has sought to strike a balance between conceptual rigor and the retinal sensuality of painting, between detachment and participation, even between decorativeness and mental purity.
Territories of
wall are marked with raw, bold pigments in a style reminiscent of
Color Field paintings, demarcated by the steel bars that at once incarcerate and expose space.
A Manolo Valdés metal bust stands near glass «
Wall Drops» by Rob Wynne and a work by
Color Field painter Morris Louis.