Sentences with phrase «little image paintings»

Read more.Related posts: Imi Knoebel's restoration at Dia: «24 Colors — For Blinky» Two restoration tales: Ad Reinhardt and Imi Knoebel «Lee Krasner: Little Image Paintings,» organized by Helen Harrison.

Moreover, there seems no doubt that her own drip painting technique - in her Little Image paintings - stimulated Pollock to adopt his own drip - style of abstract expressionist painting, which eventually made him a superstar.

In 1946 she began her Little Image paintings, a tightly focused series of works in which her use of dots and drips of paint were inspired by Pollock's «drip paintings» of the period.

Not exact matches

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The film establishes that background with a chilling sequence of the 16th Street Baptist Church bombing in Birmingham, with four little girls walking down the stairs before the image erupts into one of abstract horror painted in smoke and flame.

The effect is a little like a Roger Brown painting, and it works: This looks like it's going to be a new approach to the basic street and rock images.

One of the first images is of a little Irish girl, Taryn (Deragh Campbell), taking a knife to a couple of paintings.

The 3 megapixel camera on the back is a little slower than we'd like to focus and to adjust the white balance (indoors we saw a yellow cast until the automatic adjustments kicked in) and with such a large image to paint on - screen, live preview can show a clear lag if you move the tab around.

For those unaware, Picross is a blend of Sudoku and Painting - by - Numbers, with you using the numbers around the edges of a grid to fill in the squares and create little pixel art images.

Carrier writes: «A little suspicious of the intrinsic power of visual images, Collins - Fernandez... turns to words, gathered from overheard city conversations, and fabrics, materials that have a very different visual identity... Her materials, she rightly says, «produce a density of emotion and meaning which I am interested in reproducing in my paintings.»

Like Krasner's «Little Image» paintings, they eschew the big, swashbuckling gestures of textbook Abstract Expressionism in favor of a wiry sgraffito (or occasionally, in Krasner's case, a thin and tightly controlled drip).

More of these moments occur in the second room, the heart of the show, which brings together Krasner's «Little Image» paintings and the «Little Figure» paintings of Lewis.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

And the image and the surface of the «Little Image» paintings are really intense, I find them exciting in general as well as the most exciting of Krasner's work, so what is the role or standing of the category genius, when facing such paintimage and the surface of the «Little Image» paintings are really intense, I find them exciting in general as well as the most exciting of Krasner's work, so what is the role or standing of the category genius, when facing such paintImage» paintings are really intense, I find them exciting in general as well as the most exciting of Krasner's work, so what is the role or standing of the category genius, when facing such paintings?

The first Voulkos image you post of PV's sculpture — Little Big Horn 1959, reminds me of a Philip Guston painting but I guess that's not surprising with the abstract ex.

Lee painted the Little Image series of 31 paintings (1946 - 50) that represent her first all - over abstractions.

In 1961, he made his first painting without any expressionism titled Look Mickey, based on an image he finds in one of his children's Little Golden Book series.

These are our favorites, sort of a top ten list of holiday greetings, although we find the use of well loved paintings as greeting card images a little disturbing.

A little - recognized aspect of the work of Winslow Homer — one of America's most iconic artists — is the relationship between his painting and photography, and the role of the relatively new medium on his approach to image making.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

The first time I saw Grant's work, a multi-panel installation, I was drawn to an image of a little girl painted exactly the way William H. Johnson would have painted her.

Knoedler also exhibits quite a few recent paintings, with a greater shift to the visual, but again with little defining paint's role as object or image.

Matthew Brandt's and Bobbi Wood's works literally paint over and wash away parts of the image until very little is left for the viewer to «hold on to.»

As works of culture, the paintings in New Image Painting are a little thin — perhaps not as thin as the «zombie abstraction» works by Murillo or Ito, but hardly complex or ambitious in any cultural sense.

With the interior paintings arranged in a parlor style hanging, they are encouraging the viewer to closely investigate the whole image and discover all the little everyday treasures hidden there.

As a young arts graduate in New York he was painting images of white hotel guests being served by brown - skinned waiters, but fifteen years on these themes have become a little more cryptic and ambiguous.

In a complex and playful way, both concealing and revealing the words, yet again in a little dance, it integrates the lettering into the formal structure of the painting — the inscription is simultaneously word and image.

Following the so - called «Grey Paintings» of this period, Krasner began producing the famous «Little Image» paintings from 1946 to 1949, works highly graphic in their notation and frequently characterized by her critics as «hieroglyphiPaintings» of this period, Krasner began producing the famous «Little Image» paintings from 1946 to 1949, works highly graphic in their notation and frequently characterized by her critics as «hieroglyphipaintings from 1946 to 1949, works highly graphic in their notation and frequently characterized by her critics as «hieroglyphic.»

In the 90s, she commanded solo shows in galleries in New York, Santa Monica, London and Milan, and her paintings were included in group surveys such as My Little Pretty: Images of Girls by Contemporary Women Artists at the Museum of Contemporary Art Chicago in 1997 and Young Americans 2: New American Art at the Saatchi Gallery in London in 1998.

Opening: «Andy Warhol: Little Electric Chairs» at Venus An important part of Andy Warhol's seminal «Death and Disaster» series — which also includes suicides, race riots and car crashes — the electric chair paintings were based on a news image of the deadly electric chair that was used to execute Julius and Ethel Rosenberg at New York's Sing Sing Correctional Facility in 1953.

Like the fluctuating, expansive space suggested by her elegantly varied paint handling, surface inflections, and color relationships, this conceptual contradiction keeps us a little off balance, suggesting yet another layer of allusion even as the specificity of that allusion escapes us, like an imperfect memory or a rapidly disappearing dream image.»

Occasionally I use gouache on some of the little images, in order to have a different kind of look to the paint.

I like the idea of painting something that you may know a little about - the date, the place, the person - but that you don't necessarily have a specific image for.

Thiebaud spent that year in Manhattan, where he encountered powerful artistic personalities of the so - called New York School who had little time for his inclination to paint images.

Charles starts his paintings with anything at all, simple painted shapes of animals and other images, or collaged materials of all sorts and big fat spills of paint, which liver when dry, providing a complex, wrinkled terrain that he then covers with tiny lines and dots of sign - painter's enamel, squeezed from little bottles.

Image above: In this little painting, Gatson is looking very Nozkowski.

The result was the Little Image Series — a more personal response to Pollock's all - over canvases done prior to the drip paintings.

In your book, you elaborated on one of Krasner's painting from the Little Image series, «Mouse Trap,» which was named after Meyer Schapiro's essay on the Mérode Altarpiece by Robert Campin in the Cloisters.

Consider her paintings from the Little Image series of the late 1940s as well as some pictures of the late 1950s such as «Listen,» «Black, White, and Pink Collage,» or «Equation.»

In one of the exhibit's more playful images, he paints an Alice - like little girl in her wonderland with a regal «Bigfoot» rabbit.

Her Little Image series which she began in 1946 incorporated dots and drips of paint which inspired Pollock's now famous action painting of the same period.

How art ages MARTa Herford Museum, Herford Royal Awards for Painting 2011 Royal Palace, Amsterdam ILLUMInations The 54th Venice Biennale, Venice (catalogue) Too late, too little, (and how) to fail gracefully Kunstfort Asperen, Langedijk (catalogue) Image to be projected until it vanishes Museion - Museum of modern and contemporary art, Bolzano (curated by Mihnea Mircan) Radical Autonomy Netwerk / centrum voor hedendaagse kunst, Aalst Inside Installations Collectietentoonstelling S.M.A.K (Stedelijk Museum voor Actuele Kunst), Ghent (catalogue) Falten, Searching for White, Rise above Reason Martin van Zomeren, Amsterdam 2010 Taking Place Stedelijk Museum, Amsterdam Invisible Shadows, Images of Uncertainty MARTa Herford Museum, Herford (catalogue) Benefit Exhibition Kunst Halle Sankt Gallen, St. Gallen Starter Arter, Istanbul (curated by Rene Block)(catalogue) History of Art David Roberts Art Foundation, London Performative Attitudes Kunsthaus Glarus, Glarus Up to You Stroom, The Hague 2009 The Knight's Tour De Hallen Museum, Haarlem (catalogue) Sculptural - Collection S.M.A.K (Stedelijk Museum voor Actuele Kunst), Ghent Broken English Seiler + Mosseri - Marlio Galerie, Zurich 2008 Modern Museum of Arnhem Portfolio 1 Plan B, Berlin (catalogue) Schilders DCR, The Hague Geoair residency in Georgia, Tbilisi Mariakapel, Hoorn 2007 Billy town Rijswijk INSIDEOUT Moira Gallery, Utrecht Voorstel voor DCR Project Space, The Hague Drawing the line somewhere duo, Ned.

There is a strong influence of the American image painting with a little bit of Edward Hopper and Ed Ruscha thrown in.

Originally created to cover all 4 walls of the Leo Castelli gallery in New York, the painting includes separate images of a mushroom cloud under a beach umbrella, some spaghetti, a piece of cake, a Firestone tire, a swimmer, light bulbs, and a little girl under a hairdryer, all set against the backdrop of an F - 111 fighter jet.

The heart of the show couples Lewis» «Little Figure» paintings with Krasner's «Little Image» series.

Krasner's «Little Image» paintings were painted from right to left, likely in reference to the Hebrew lessons she received as a child in Brooklyn.

Beautiful little sandwiches of paper, paint, and found images!

The «Little Image» and «Little Figure» paintings were made in the late 1940s.