Sentences with phrase «painted image dimensions»
Painted image dimensions: 15 ⅜ x 17 1/2 in (64.5 x 44.7 cm).
https://www.christies.com/ Not exact matches
In these new paintings, depth, dimension, and the artist's hand are typically lost in translation from object to image, allowing the information to exist as it might appear on a digital screen.
Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.
Ai Weiwei, Coloured Vases, 2006 Neolithic vases (5000 - 3000 BC) with industrial paint, dimensions variable Courtesy of Ai Weiwei Studio Image courtesy Ai Weiwei (c) Ai Weiwei
In your inquiry, please include the unframed dimensions, the medium (oil, watercolor, pastel), the support (canvas, wood, cardboard, paper), any inscriptions on the front or back of the painting, and clear digital images of the front and back of the painting.
The paint looks like it was erased rather than applied, the erasing of an image of the artist perhaps, yet the brush strokes and the dimensions attesting to the artists presence, and body.
Image: Joyce Pensato, Silver Batman 14th - 22nd March 2014, enamel and metallic paint on wall, dimensions variable.
Featured image: Louise Bourgeois — Articulated Lair, 1986 (Installation View at MoMA); Painted steel, rubber, and metal; Dimensions variable, overall approximately 9 ′ 3 ″ x 21 ′ 6 ″ x 16 ′ 1 ″ (281.7 x 655.7 x 490.2 cm); Gift of Lily Auchincloss; and of the artist in honor of Deborah Wye (by exchange).
Blurring the lines between two and three dimensions, Rafferty attaches her wall - mounted works using custom - painted screws that break up the images.
David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.
Adjacent lines converge at the paintings» edges to form a series of multicolored wedges of varying dimensions flip - flopping through each image.
CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.
Main image: Ai Weiwei, Coloured Vases, 2006, 51 Neolithic vases, (5,000 — 3,000 BCE), industrial paint, variable dimensions.
Namuth's photographs and films of Pollock still stand among the most important documents showing an artist in his studio and continue to influence artists as diverse as Richard Serra (whose molten - lead sculptures from the late»60s transpose the drip paintings into three dimensions) and Vik Muniz (who appropriated one of the images for a painting in chocolate).
Physical space is dispensed with as an element in painting — even the dimensions of the canvas do not represent measurements inside which relationships are set up, but rather only determine the ends of the image.
And so as a point of reference within the doodle - prone, dimension - swelling domain of Briggs» art I would direct the skeptical spectators» eyes toward the relatively simple Delft - tile crossed with sundial image of Blue Boy, and suggest that it is the baseline against which more aggressively Baroque caprices such as Painting Pirouette, with its bulges and wrinkles and folds, be judged.
Known for the use of art historical references in his paintings, Brown appropriates images changing their shape, form, colour, and dimension, traversing artistic time zones from the Renaissance, Baroque and Rococo through to Impressionism, Expressionism and Surrealism and referencing artists such as Jean Louis Fragonard, Salvador Dalí and John Martin - who was also born in the north east.
Dadson captures images of his site - specific paintings made within the dimensions of the landscape and presents them as cross-media art forms.
Derived from painted heads depicted in many recent canvases, the sculpture moves this image into three dimensions and further abstracts it.
These lenticular paintings appear static when seen from a fixed viewing point, yet when the viewer moves, the images become animated, revealing new colors and dimensions.
«Guardians of the Secret II» is a free - standing sculpture seven feet high, ten feet long and two feed deep that combines ceramic, steel, wood, painted canvas and found objects to interpret and give dimension to the images in the Pollock painting.
Wood, paint, and performance - lecture with projected images and colored light, dimensions variable.
Studio Wall Drawing: 5th June 2006 - High Resolution - «Large Field Array» (14x14x3 pixels)... (300) Artist: Keith Tyson born 1969 Date: 2006 Classification: on paper, unique Medium: 6 works on paper, ink, paint and graphite Dimensions: image: 1525 x 1220 mm Purchased with funds provided by the Zabludowicz Collection and Tate Patrons 2007 © Keith Tyson
The image for the print originates from a small acrylic painting of the same dimensions, and has been remade as a two - plate polymer etching and hand coloured by the artist.
From painting, drawing, photogravure and video, «Fields Like Waves» captures the multiple performative dimensions of translating fluid reality into images.
In the concluding steps of her process, Pollack prints a final image onto linen in a size that is unequal — sometimes larger, sometimes smaller — to the dimensions of the painting stretcher that will support it.
Image: © Mary Redmond, Seven Split Overglide, 2012, bamboo, paving slabs, acrylic paint, masonry paint, corrugated metal, clothes racks, woven bags, cable ties, linen thread, dimensions variable, courtesy the artist and The Modern Institute / Toby Webster Ltd
The Antiquity paintings (2009 — 13) pulse with complex layerings of image, reference, and chromatic nuance as Koons explores the historical oscillation of form in painting and sculpture, the movement back and forth between two and three dimensions, that underpins so much of his own artwork.
Each painting's page begins with an image of the work; the name, nationality, and life dates of the artist; and the title, execution date, medium and support, dimensions, credit line, and accession number of the painting.
Abstract Painting with Fruit Artist: Derrick Greaves born 1927 Date: 1979 Classification: on paper, print Medium: Screenprint on paper Dimensions: image: 508 x 381 mm Presented by Rose and Chris Prater 1979 © Derrick Greaves
Three ‑ channel video installation, color, silent, with three monitors, enameled steel, internally lubricated plastic, and six high ‑ abuse fluorescent lighting fixtures, Dimensions variable Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 93.33 © Matthew Barney Image courtesy of Matthew Barney Studio
Image: Brian O'Doherty, The doors to good and evil and the windows to heaven — Christina's World, Rope Drawing # 124, 2015, nylon cord, water - based house paint, dimensions variable.
Halil Altindere Space Refugee Project, 2018 Painted portraits, stamps, VR video, video, spacesuits, robotic car, dimensions variable Sharjah Art Foundation Collectio Image courtesy of Sharjah Art Foundation
«Octagram» (2016), 22 aluminum coated mirrors, 22 mirror mounts, programmable lighting elements, haze machine, zero - reflectance - paint, dimensions variable, all images courtesy of James Nizam
While each painting conjures a distinct time of day or lunar phase, the images point to a dimension beyond time.
These images — one a photograph and one a painting (see below for which is which, and dimensions)-- were created by Juan Bernal (Web site JuanBernal.com), an artist I met late last month at New York City's 20th annual EcoFest.