Sentences with phrase «color studies exhibition»

Not exact matches

Kessler writes that the exhibition «is not only about a group of Mark Rothko paintings done at the peak of his career, but it's also about an ingenious restoration technique — a way to restore the color of these faded murals via non-invasive digital projections... The exhibition features a much - damaged five - panel mural that Rothko was commissioned to make in 1961 - 62 for the penthouse dining room of Harvard University's Holyoke Center... 38 studies for the murals... And, presented here for the first time, a sixth [undamaged] mural which was painted for the commission and held in reserve until Rothko decided which five paintings he wanted for the final installation.»

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

The exhibition traces Letinsky's photographs as they have evolved from studies in melancholy and absence to explorations of perception, color and space.

Both Anuszkiewicz (who studied with Josef Albers) and Wurmfeld, whose exhibition I reviewed on April 14th, make optically dazzling, hard - edge paintings that owe something to the scientific, research - driven engagement with color that goes back to Georges Seurat, the study of optics and the rise of color theories.

The exhibition is accompanied by a full color catalog with essays by writer Taiye Selasi, Niger Delta historian Ebiegberi Joe Alagoa, environmental cultural studies scholar Stephanie LeMenager, exhibition curator Amy L. Powell, an interview with the artist by Princeton art historian Chika Okeke - Agulu.

Joined by the neuroscientific study lab, which will interact with visitors during the show, the exhibition investigates the use of color in art through artistic movements and research that stand apart from canonical histories on color and abstraction.

For her exhibition in the project gallery, Bozzi has created a series of fourteen small - scale, gouache on paper paintings that present landscapes at various times of day and season, each an intimate study in capturing the play of light and color.

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous Homage to the Square paintings.

The exhibition titled «A Second» continues his studies with color, shape, and form to engage our ability to perceive our surroundings.

Added Art AIDS America Co-Curator and Director, Visual Studies Doctoral Program at the University at Buffalo Jonathan Katz, «With the representation of several significant Chicago artists of color and the sheer scope of space that the Alphawood Gallery has committed, truly the Chicago exhibition is THE definitive Art AIDS America showcase.

With this latest exhibition, Stanley shows three major paintings that show his ability to extend his vision in scale, as well as a group of intimate studies that feature luscious color combinations and deft paint handling.»

A State of Intense Excitement and Apollonian Reserve (October 13, 2012), on an exhibition at the Morgan Library of color studies on paper by Josef Albers.

Inspired by Du Bois» sociological studies on the advancements of Black Americans from the time of Emancipation to 1900, the exhibition will feature a series of response paintings in which the statistical data gathered and made visual by Du Bois has been reduced to abstract color fields and geometric motifs.

Other exhibitions have studied artist portraits and self - portraits, early 20th century images of New York City subways and skyscrapers and 19th century hand - colored Japanese photographs.

In his catalogue essay for the exhibition, Bryant recounts visiting Caro's studio in 2010 and studying the colored works on paper together.

1971: A Year in the Life of Color studies two exhibitions essential to the ongoing relationship between black American artists and modernism.

Thanks to careful study of documents, letters and photographs related to Szeemann and the 1969 show — carried out by the Fondazione Prada in collaboration with GRI curator Glenn Phillips and his team — and to detailed analysis of a collection of more than 1,000 black and white and color photographs, it was possible to identify both the works in the exhibition and the ones that were not put on display — for technical reasons — at the Kunsthalle or in the secondary exhibition space at the Schulwarte.

Motherwell speaks of his relationship with his parents; attending prep school; studying philosophy at Stanford University and Harvard University; his theory of automatism; European and American painters in post-war New York; teaching at Black Mountain College; teaching at Hunter College; his retrospective at the Museum of Modern Art and other exhibitions; his collages with Gauloise cigarette packages; the photograph The Irascibles; his membership in American Abstract Artists; his marriage to Helen Frankenthaler; his use of color and light in his paintings; spending summers in Provincetown, MA; beginning printmaking; playing poker; working with the art dealers Kootz, Janis, and Frank Lloyd of Marlborough; his series Elegy for the Spanish Civil War, Je t «aime, Beside the Sea, Open, and Lyric Suite.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

In addition to this key painting and its related studies, the exhibition will also present a range of works in a variety of media that attest to Albers's lifelong investigation into black, white, and grey, from ink and watercolor works on paper that pre-date his time at the Bauhaus, to gouaches executed during his tenure at Black Mountain College, to color studies that shed light on his working process.

POLLOCK - KRASNER HOUSE AND STUDY CENTER - «Color and Time: Paintings by Roy Newell, 1956 - 2000» opens today with an exhibition of 28 small abstract oils.

The exhibition takes its title from a passage in Albers's Interaction of Color (1963), his significant treatise on color studies and an essential handbook for artists and teacColor (1963), his significant treatise on color studies and an essential handbook for artists and teaccolor studies and an essential handbook for artists and teachers.

The works he creates during the faculty fellowship are expected to be on display in group and solo exhibitions in various galleries and museums and could include his paintings, color studies and index card drawings, which document his painting process.

Selected Group Exhibitions: 2010 Starburst: Color Photography in America, 1970 - 1980 - Cincinnati Museum of Art Packer Collegiate Institute Princeton University Art Museum 2007 Tokyo Metropolitan Museum of Photography 2005 Art & Recovery Conference / Exhibition, Lower Manhattan Cultural Council at Borough of Manhattan Community College, New York Edward Thorp Gallery, New York Gulbenkian Cultural Center, Paris, and Gallery Chiado 8, Lisbon 2003 Defying Gravity, North Carolina Museum of Art Gallery Amelia, Tokyo Eugénio de Almeida Foundation, Evora, Portugal 2002 Tokyo Metropolitan Museum of Photography 2001 Metropolitan Museum of Art, New York (Photography Study Center) 2000 Picturing Media, Metropolitan Museum of Art, New York A Prova de Agua, Belem Cultural Center, Lisbon 1999 Cooley Art Gallery, Reed College, Portland, Oregon 1998 Stanford University Art Museum 1989 New Directors, New Films, Museum of Modern Art, New York 1986 - 1988 Laurence Miller Gallery, New York 1985 Krannert Art Museum, Univ. of Illinois 1984 Color in the Street, California Museum of Photography, Riverside Light Gallery, New York Recent Acquisitions, Museum of Modern Art, New York New York, Paris, Tokyo, Tsukuba Museum of Photography, Japan 1982 Color as Form, Corcoran Gallery of Art, Washington Arteder, Museum of Graphic Arts, Bilbao, Spain Lichtbildnisse, Rheinisches Landesmuseum, Bonn Recent Acquisitions, San Francisco Museum of Modern Art University of Rochester, NY 1981 Castelli Uptown Gallery, New York Robert Frank Forward, Fraenkel Gallery, San Francisco Institute of Contemporary Arts, London Int «l. Museum of Photography, Geo.

«Transgressions» (2011 — 14), the exhibition's title piece, is accompanied by a series of studies, some with colored backgrounds that suggest the process of printing.

An important contribution was made by the Getty Research Institute directed by Thomas W. Gaehtgens.Thanks to careful study of documents, letters and photographs related to Szeemann and the 1969 show — carried out by the Fondazione Prada in collaboration with GRI curator Glenn Phillips and his team — and to detailed analysis of a collection of more than 1,000 black and white and color photographs, it was possible to identify both the works in the exhibition and the ones that were not put on display — for technical reasons — at the Kunsthalle or in the secondary exhibition space at the Schulwarte.The result was a complete and precise mapping of what happened in Bern.

This seventh volume in the ongoing documentation of Ed Ruscha's (born 1937) entire corpus of paintings covers the years 2004 to 2011, comprising 230 paintings and studies that are reproduced in color and accompanied by detailed exhibition and bibliographic histories.

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991

While studying at the University of the Arts, one of my writing assignments was to sit and stare at one painting for an hour, take notes and write an essay.180 Farben (180 Colors) is included in the sensational International Pop exhibition at the Philadelphia Museum of Art, I sat with the painting again for a long while, alone at a press preview.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

This is the first exhibition of David Reed at Peter Blum Gallery, and the first exhibition of Reed's working drawings and color studies anywhere.

He then studied for his master's at Yale with Conrad Marca - Relli and Josef Albers, who was well known for his color theories (and who was also the oldest artist in the «Responsive Eye» exhibition).

In the exhibition at the Morgan Library, the studies for these works were arranged in color groups, as is the catalog, so we can see some of the variations within similar hues.

She directed her work to a study of pigments and their material supports, which led to single - color paintings made in series and intended to be installed in such a way that each wall and each exhibition becomes a work of art in itself.

The same year Reed had solo exhibitions at the Workhouse Art Center in Lorton, Virginia titled Ultraviolet to Infrared: Paul Reed — 50 Years and at Georgetown University in its library, Evolution Through Color: The Art of Paul Reed, which featured paintings, sculptures, studies, and prints.