Sentences with phrase «exposed paintings series»
This exhibition focuses on works from the artist's celebrated Exposed Paintings series.
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This book features a series of photographic collaborations by Copley and Jaqueline Hyde wherein the ostensible subject — a painting by Copley, perfectly exposed and ready to be cropped for reproduction — also reveals a broader scene.
The inaugural exhibition will present a series of Exposed Paintings by Callum Innes and will run from 12 May to 14 July.
Half a dozen larger works will be on display as well as a number of pieces from the artists «Incising» series where acrylic paintings on clayboard are lightly carved to exposing the underlining color forms, continuation in the artists curiosity with layering, movement and linear connections.
In the Stack series, three chromatic pillars of paintings are piled high with only their edges exposed.
Painted in 1992, at what is widely considered to be the height of the artist's abstract period, this particular example is distinguished by a series of prominent vertical striations, that act as a translucent gateway, simultaneously tempting and taunting us with what might lie at the heart of Richter's exposed canvas.
The penultimate exhibition in our series of 26 pairings was a juxtaposition of one new work by Callum Innes — a startling yellow «exposed» painting harking back to his most simple work of the early 1990s — alongside an inky black and seductively enigmatic seascape by the Japanese master photographer Hiroshi Sugimoto.
Over the last three years, the Exposed paintings have taken precedence over other series and this exhibition showcases the most recent paintings in this series.
Described by the curator John Elderfield as «think - tough, paint - tough» due to their imposing scale and vigorously expressive brushwork, the pieces from the series include First Creatures from 1959, an abstract, indeterminate landscape exhibited here for the first time, and Mediterranean Thoughts from 1960, in which Frankenthaler's looping skeins of poured paint create partitions of varying sizes, leaving very little exposed canvas.
On view are four interconnected bodies of work: A Wrestling Place series — depicting two Herculean figures mid-tussle against a barren panorama; Self - Examination paintings — a wrestler's intimately folded body represented within a tensely cropped picture plane; the Wrestler suite — individual portraits of the brawling protagonists standing in profile, facing away from the viewer and exposing scuffed, bruised backs against otherworldly blue backdrops; and The Golden Age — scenes rendered in pencil on gessoed linen.
Unifying the series, the shimmering quality of the silvery paint emphasizes the tension between the painted strips of color and the exposed strips of blank canvas, enhancing the visual reverberation of the geometric form (an effect Stella had previously explored in his series of aluminum paintings).