Sentences with phrase «square paintings more»

Representative of the artist's famous liking for measured logic, Lettre sur les sourds et muets I epitomizes the artist's «70s output and the very best of his Concentric Square paintings more broadly.

Not exact matches

As part of a project known as Cool Roofs, volunteers in New York City have been painting black roofs white and have so far covered more than 500,000 square meters of roof, though that's less than one percent of the possible area.

Looking to the other work done at and to support the Green Bank Observatory, the accomplishments of the past year include: hosting more than 2,000 visitors to view the solar eclipse, painting 84,000 square feet of the GBT, hosting 900 visitors at our annual open house (and launching 150 rockets in two hours that same day), releasing our new visitor reservations system, and hosting more than 30 film and news organizations.

WOLFGANG JOOP grew up a little this season - reining in the multicoloured dots to vaguely more sensible checks, but there was still plenty of colour: black and white vertical stripes were roughly painted onto cotton coats and tights and then daubed with yellow and green and red squares at random.

I thought about painting a checkerboard on a small square table I'm doing, but it would be more for looks because I don't even know how to play checkers.

Significantly refreshed, the midsize sedan gets a couple of new shades of paint, a larger mesh grille, a longer and squared off hood, wing design embellishments, and a more powerful engine plucked from a Mazda CX - 9 SUV.

For all that the Home Depot Consumer Credit Card features quality financing deals on everything from fans to French doors, it's hardly the only card on the square that offers awesome financing — and the other options can be used to purchase more than paint and plywood, to boot.

More than 80 photographs and paintings of dogs and cats by noted artists grace the walls of the public spaces of the 110,000 - square - foot medical center, one of the most advanced veterinary hospitals in the nation.

As well as being home to John Virtue paintings and a sculpture by Tony Cragg, the hotel building was designed by architect John Nash, whose works include Buckingham Palace, Trafalgar Square, the adjoining Haymarket Theatre, and more.

This 450 square foot first floor air conditioned unit is newly painted, has new flooring, brand new furniture and linens, and many more updated throughout.

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

At the far ends of the room, two mostly square paintings with a decided orange tendency are in dialogue, while the shorter axis is dominated by more vertical paintings with green as a unifying hue.

If the artist is using geometry to construct a painting, like so many since the early 1960s, it feels more like doing math than if the artist shows a square as an image floating in a field, like a character in a graphic novel.

Precise compositions of squares and a considered rhythm of colors beckon the viewer past the painting's surface and into a space that grows more and more palpable.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Bacon: In the mid-to-late -»60s, when these large square paintings with pseudo-architectural forms were well underway, you were in New York a lot more, and you showed most often with Fischbach.

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitSquare on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare form as a historic reference to capitalism.

The quilt's pattern of orange squares was too dominating, so he added the pillow on top, splashed on some more paint, and, with some logic, called the resulting work Bed.

Discussing this series in the context of his «70s output more generally, Stella says, «The effect of doing [the Diderot paintings] «by the numbers,» so to say, gave me a kind of guide in my work as a whole... The Concentric Squares created a pretty high, pretty tough pictorial standard.

SIT was involved in action painting, graphic design, advertising and more — until he went back to square one to find his true essence — back to head and handcraft.

A hefty square of mud from Italy (Arte Povera indeed) looks merely abstract, and Josh Tonsfeldt's painted wood with Simon Preston looks more aged than battered and neglected.

The 14,000 - square - foot, modern crimson - hued two - story building will house the Foundation's growing collection of more than 800 paintings, sculptures, installations and video works by contemporary artists from around the world.

Titled «The 80's: Grey Paintings» — it unites more than twenty grey paintings, concentrating on horizontal divisions of six - foot square canvases, that haven't been exhibited together for more than twoPaintings» — it unites more than twenty grey paintings, concentrating on horizontal divisions of six - foot square canvases, that haven't been exhibited together for more than twopaintings, concentrating on horizontal divisions of six - foot square canvases, that haven't been exhibited together for more than two decades.

With Nicholas Fox Weber, the director of the Connecticut - based Josef and Anni Albers Foundation, Waddington helped oversee a remarkable rise in the prices of that influential Bauhaus artistJosef Albers, whose Homage to the Square paintings now fetch more than a million dollars.

PJ Hickman's exhibition More Last Paintings features two series of paintings: MASTERPIECES and BlanPaintings features two series of paintings: MASTERPIECES and Blanpaintings: MASTERPIECES and Blank Square.

The rest are reduced to an «installation view» of wall - hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont «s concurrent L'Age D'or exhibition next door comes in two square concrete «chairs», designed for the almost empty garage cubicles outside.

With a palette of pink, turquoise, purple, black (and more) drawn from a 1970s abstract painting Murray found at 1stdibs, the 4,100 - square - foot house now teases its sense of style right from the

The new definitive shape assumes the form of equilateral crosses, within the confines of more traditional square and rectangular formats witnessed in a painting like Wanderer (1987).

Founded in 1959 and now comprising five wings, nearly 8,000 works, and more than 38,000 square feet of exhibition space, the Colby College Museum of Art has built an important collection that specializes in American and contemporary art with additional, select collections of Chinese antiquities, European paintings, and works on paper.

With contributions from over 40 artists of the more than 100 originally participating, Times Square Show Revisited reflects the spirit of the original with a mix of extant sculpture, painting, and video — most of which has not been on public view since 1980.

In 1950, Albers began what would be his most famous work, the Homage to the Square series, a body of more than a thousand paintings, drawings, prints, and tapestries, created over a period of twenty - five years.

[69] The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans and included the only public showing of The Great Wall, developed during research for Secret Knowledge, and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolors, oil paintings, and digital works.

More a 3 - D painting than a sculpture it is simply a cafe parasol surrounding Place de la République, the square behind the gallery and the square of the demonstrations and coming together after the January 2015 and November 2015 attacks.

Such spatial mutability is more refined in the «Homage to the Square» paintings, which often read simultaneously as receding, like a sunken walled court; protruding, like a flat - topped pyramid; and holding steady in a single slightly vibrating plane — a temple gate to another world.

It is joined by two more subtle paintings by Doug Argue, two knockout works by Abstract Expressionist Fritz Bultman, and, in the 64th - floor lobby, a suite of seven square paintings by Greg Goldberg along with a ripe new Bryan Hunt sculpture.

Tony Bechara's labor - intensive painting 125 Colors (1979), showing countless small colorful squares packed onto the canvas surface, anticipates computer pixelation by a decade or more.

In 2010, the Louvre unveiled a ceiling painting it commissioned by Mr. Twombly, a 3,750 - square - foot work in the museum's Salle des Bronzes, next door to a ceiling triptych created more than half a century before by Georges Braque.

If you paint a vase of flowers, the vase of flowers is not measurable — more abstract than the red square.»

He was born in 1930 in Nashville, came to New York to study jazz, got a job as a guard at the Museum of Modern Art and, from 1955 or so on, set himself up as the guy who painted white squares — thousands by now, with more coming all the time from a master who turned 80 last Sunday.

There is, first, the obvious fact that the elements don't really very often add up to a legible landscape (the black pentagon in Calvi looks no more like a cave than the squares in Mondrian look like skyscraper windows — that is, a confusion might be possible because of the limited number of shapes available, but everything in the intention of the painting is there to steer one away from it).

More precisely this wall construction is a square block of masonite covered with flesh tint oil paint.

There's also a solid helping of funkier, more - organic - looking abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.

The announcement sparked applause around the Mall Galleries just off Trafalgar Square in London where more than 400 paintings shortlisted from the 10,000 entries are now on display.

In 1967 he came out with a series of «micro-paintings» — some of which were no more than a square inch — and in 1972 he created a monumental stripe painting directly on the street in front of the Philadelphia Museum of Art.

Josef Albers performed something similar with his paintings of squares that used blue as nothing more than a formal property, and Andy Warhol continued this in his Marilyn paintings and other serially reproduced works, which use blue as just another color with which to mutate the actress's image, interchangeable with yellow, red, or any other hue of the spectrum.

Over time, her paintings became less formal and a little more woozy, the palate went from primary colors to jewel tones, squares and rectangles gave way to the occasional rogue polka dot.

Composed of more than 11,000 four - inch squares, or «pixels,» in 72 colors, the window is based on Richter's 1974 painting, «4096 Colors,» a grid of monochromatic squares 64 tall and 64 wide (for a total of 4096 squares) which was organized and designed according to a mathematical formula that systematically mixed red, yellow, blue and gray.

Founded in 1959 and now comprising five wings, nearly 8,000 works and more than 38,000 square feet of exhibition space, the Colby College Museum of Art has built an important collection that specializes in American and contemporary art with additional, select collections of Chinese antiquities and European paintings and works on paper.

Before Stella, most often paintings were rectangular or more rarely, oval, circular or square, as Kennedy points out in the 134 - page scholarly catalog he wrote to accompany the exhibition.

What dawned on me was that all the space I could deliver in these paintings, would be up to twenty - four square feet — any suggestion of «more» and I would say it was «leaking» and dissipating in impact; any less and it's compromised in its delivery.