Sentences with phrase «kabuki paintings»

Julian Schnabel / Kabuki Paintings, The National Museum of Art, Osaka, June 10 — July 23, 1989.

Traveled to: Setagaya Art Museum, Tokyo, as Julian Schnabel: The Kabuki Paintings, September 15 — October 22, 1989.

Julian Schnabel: The Kabuki Paintings, The Pace Gallery, New York, October 31 — November 29, 1986.

Not exact matches

The «Day One Survival Pack» bonus offers 4 gold - plated weapons, 2 additional gestures, 4 metallic survival scarves, a Boxman accessory, Mother Base nameplate and Kabuki face paint.

Broken plates, Kabuki theater backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital reproduction; fragments of text in different languages: these are just some of the diverse materials with which Schnabel engages life's grand themes — sexuality, obsession, suffering, redemption, death, and belief.

Gregory writes: «Wax paintings, plate paintings, works on paper, sculpture and works on novel materials like Kabuki screens are held together through conversation the pieces have with each other, rather than through a linearly progressive motif... Four massive plate «landscapes»... operate like a 3D movie, where one's presence before them in person is like the glasses one uses to see such a film.

Alongside the «Big Girl» paintings will be two paintings on Kabuki theater backdrops from 1987; a 16 square foot painting, E o OEN (1988), recalling the name of Andy Warhol's estate in Montauk, Long Island where Schnabel lived and worked and painted the painting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting, E o OEN (1988), recalling the name of Andy Warhol's estate in Montauk, Long Island where Schnabel lived and worked and painted the painting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting; El Espontaneo, a 22 square foot painting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's supainting from 1990; and a recent Untitled «Goat Painting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's suPainting» (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's surrender.

Included in the landmark «30 Americans» of work by contemporary black artists that toured from the Rubell Family Collection to the Corcoran, Iona Rozeal Brown has made a name for herself by making paintings that find an unexpected confluence between the iconography of Japanese ukiyo - e and kabuki and African American culture, from hip - hop to Afrocentrism.

It's a place where you can artistically teeter - totter; sing along; pretend to spelunk; climb aboard a full - sized, post-disaster Mardi Gras float; count the army of plastic soldiers and herd of plastic dinosaurs in a strange set of tapestries; take a video visit to an eerie African - American wax museum; and behold a painting so cross-culturally confused that it combines gold leaf, graffiti, kabuki and the New Orleans Saints.

Alongside the «Big Girl» paintings will be two paintings on Kabuki theater backdrops from 1987; a 16 square foot painting, E o OEN (1988), recalling the name of Andy Warhol's estate in Montauk, Long Island where Schnabel lived and worked and painted the painting; El Espontaneo, a 22 square foot painting from 1990; and a recent work, The Sky of Illimitableness (2012), where Schnabel painted on a transposed image of a stuffed goat with a rabbit on its head over 19th century Dufour wallpaper depicting George Washington accepting Cornwallis's surrender.

The series is titled Tectonic paintings, to complement the shifting and overlapping of aesthetic terms with this physical metaphor of transformation; Onnagata, the exhibition title, is the Japanese word for male kabuki actors who play female roles in Japanese theater.