Sentences with phrase «white canvas gallery»

Not exact matches

The white washed walls and signature blue studded doors resting under arabesque arches, are depicted on canvas within the many local galleries.

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

A Blank Canvas Is A White Flag David Walker 21 November 2014 - 30 November 2014 As part of the gallery's ongoing exhibition programme we present «A Blank Canvas is...

With One wall removed, 1980, Irwin replaces the outside wall of the Malinda Wyatt Gallery with an extensible, sheer screen in a delicate white canvas to reveal the infinite light variations cast two skylights in empty space.

In a related exhibition uptown (at the Marian Goodman gallery), new canvases and wall paintings jostle with three older quincunxes made of white paint on yellowing newsprint.

At ABMB, Pace showed (and sold, at prices ranging from $ 75,000 to $ 1m) 16 signature black Louise Nevelsons; Mitchell - Innes & Nash gave a wall to Jessica Stockholder's 14 - element assemblage; Rosalyn Drexler's canvas collages of magazine strips took over Garth Greenan's Survey booth; a Kiki Smith white car - painted bronze anchored Timothy Taylor's space; Noga, the sole Israeli gallery (why?)

In the ICA's upper galleries, a series of shaped white monochrome canvases will be shown.

The exhibition at Lisson Gallery includes Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls — the metaphorical canvas of Grosse's tremendous painting.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

Among the buyers was the Tornabuoni gallery from Paris, which bought a six - sided painting by Lucio Fontana for # 818,500; and New York dealer Neal Meltzer, who bought an encrusted white canvas by Alberto Burri for a double - estimate # 626,500.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

George Sugarman, Yellow to White to Blue to Black (c. 1966), acrylic on wood laminate, 40-1/2 ″ x 162.88 ″ and Stuart Davis, Untitled (Black and White Variation on «Pochade)(c. 1956 - 58), casein on canvas, 45 ″ x 46 ″; courtesy Washburn Gallery

For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the canvas — making it into the subject of the work, but instead of cloth, the «canvas» here is woven out of unified, off - white glass beads.

And there's a lovely - shaped canvas: a white triangle that hovers above the gallery's entrance.

black - pained gallery walls and white window frames act as a canvas for the bike «drawings» etched onto the interior surroundings as though the faux - vehicle has been ridden on the walls.

«I have my impulses,» says the bearded, sturdy painter Dean Byington, gesturing at his nine immense black and white canvases in «Theory of Machines» at the Kohn Gallery.

The khaki - colored linen of the canvas gives the work a necessary separation from the white gallery wall and emphasizes the fact that we are looking at a representation of space.

In some of the paintings, the room looks like a bedroom (it was a converted attic); in others, like Peter's Sitters 2 (2009) or Peter's 3 (2007), it looks like a modern gallery space, with its low white ceiling and mirrored squares like canvases.

A 2013 exhibition featured the word «police» written in bold type across white canvases; a show this past summer consisted of a motorcycle, a pram, a refrigerator, and a DJ's mixing table scattered around a Berlin apartment gallery.

Talk: «Al Held Panel Discussion» at Cheim & Read Following last week's opening of the highly praised exhibition «Al Held: Black and White Paintings,» which showcases eight of the abstract painter's monumental canvases of interlocking forms from 1967 to 1969, the gallery is presenting an in - depth discussion of the artist and his work.

Phillips also achieved a landmark price for the American artist Mark Bradford, when his very large mixed - media canvas Biting the Book (2013), bought from a show at London's White Cube that closed only a year ago, attracted multiple telephone bids before selling to a client speaking to Philips's New York — based president Michael McGinnis, for a record # 2.5 million ($ 3.9 million), double the estimate and four times the gallery retail price for such a work.

Works on paper in black and white look great online, on the same full screen as a canvas, but do not hold up as well in the gallery.

People in front of Maximilian Toth's «White Wash» (2012), graphite, grease pencil, spray paint, oil on canvas, at Fredericks & Freiser gallery / Photo: Hrag Vartanian

Using the gallery's main exhibition space as her canvas, the artist masked the floor with a large foam stencil, painting over it and the surrounding walls in sprayed - on, bright acrylic paints, before lifting the stencil to create large, white, disconcerting voids upon entering the space.

Even though artists use the «white painting» for different objectives, the play of light and shadow, using the canvas to inspire a unique meditational experience absent of all outside references, and the inevitable comparison with notions of the «white - cube» gallery all play into the layers of meaning hidden under all that white paint.

Trey Egan's second solo exhibition at Cris Worley Fine Arts includes eight large - scale abstract oil paintings on canvas that animate and transform the white walls of the gallery into a torrential color storm.

Those included a large untitled 2004 painting by Pat Steir for an asking price of $ 550,000, an untitled 1968 work by Carol Rama for an asking price of $ 350,000, and The Underground Rises Again (2015), a large white canvas with metal studs by Dan Colen, who joined the gallery this year, for an asking price of $ 250,000.

Also on view will be a canvas by gallery artist Marlene Dumas, The White Disease (1985), offers a punctuating re ection on identity and ethnicity.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iWhite Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite color 32 1/4 x 32 1/4 x 2 3/4 inches

Second, in the next gallery, is Twombly's «The Four Seasons: Spring, Summer, Autumn and Winter,» from 1993 - 94, four tall white canvases each of whose marks, colors and scrawled words leave little doubt as to the time of year.

Among the notable transactions: White Cube sold a gargantuan Mark Bradford canvas for $ 725,000, David Zwirner parted with a»90s - era Luc Tuymans painting for $ 1.4 million and two more for $ 900,000 apiece, Pace sold an Adam Pendleton mirror painting for $ 65,000, Paula Cooper took in $ 200,000 for a Claes Oldenburg watercolor of scissors, Lehmann Maupin sold a Mickalene Thomas painting for $ 55,000, 303 Gallery parted with two signature Jacob Kassay mirrored canvases for $ 150,000 each, and Sadie Coles sold a Rudolf Stingel self - portrait (a version of one included in his Venice show) for $ 2 million, and Blum & Poe found $ 250,000 for a Yoshitomo Nara painting.

The gallery's back wall is a beauty, with three masters of the lean and clean: Ellsworth Kelly (a white diagonal arc cutting through black), Robert Mangold (irregularly shaped orange canvas «corrected» by pencil lines within), and Robert Ryman (white - on - white, in this case a froth of choppy sea).

Meanwhile a series of blank white canvases almost disappears on the gallery's walls.

Black and White, Mostly — Hiram Butler Gallery, Houston, TX The Grant and Peggy Reuber Collection of International Works on Paper — McIntosh Gallery, London, ON Local History: Enrico Castellani, Donald Judd, Frank Stella — Dominique Lévy Gallery, New York City, NY Local History: Castellani, Judd, Stella — Dominique Lévy Gallery — London, London In Living Color: Andy Warhol and Contemporary Printmaking — Joslyn Art Museum, Omaha, NE Taking A Stand Against War — Lehmbruck Museum, Duisburg Alois Breyer, El Lissitzky, Frank Stella: Wooden Synagogues — Tel Aviv Museum of Art, Tel Aviv Love Story — Sammlung Anne & Wolfgang Titze — Schweizergarten, Vienna Modernism from the National Gallery of Art: The Robert & Jane Meyerhoff Collection — The de Young Museum, San Francisco, CA Openness And Clarity: Color Field Works From The 1960S And 1970S — Honor Fraser, Los Angeles, CA Summer Group Exhibition: Part I — Van Doren Waxter, New York City, NY The Shaped Canvas, Revisited — Luxembourg & Dayan, New York City, NY Calculated Abstractions — Hard - Edge Prints — UB Art Galleries — University of Buffalo, Buffalo, NY Solidaridad Y Resistencia.

The gallery will also present graphite works on paper, and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing the meander to the edge of the canvas, creating nearly monochrome black or white surfaces.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Exhibition Checklist Main Gallery (clockwise from front desk) Untitled, 2004 charcoal, pastel on paper mounted on canvas 60 x 60 inches ECp 16 Untitled (Roadmap), 2004 charcoal, pastel on paper mounted on canvas 60 x 80 inches ECp 18 Untitled (Paper Airplanes), 2004 charcoal, pastel on paper mounted on canvas 60 x 80 inches ECp 19 Untitled (Snow White and the Seven Dwarfs), 2004 charcoal, pastel on paper mounted on canvas 60 x 60 inches ECp 17 Misadventures of the Liberating Savages, 2004 acrylic, waterbased oil, pencil, collage, ink transfers on amate paper 8 x 116 inches ECd 43 Side Gallery Untitled (Untitled), 2004 charcoal, pastel on paper mounted on canvas 60 x 60 inches ECp 15 Untitled (Liberty), 2004 charcoal, pastel on paper mounted on canvas 60 x 60 inches ECp14 Poor George (After PG), First Row: Poor George (After PG) # 12, 2004 ink on paper 14 x 16 inches ECd 38 Poor George (After PG) # 3, 2004 ink on paper 14 x 16 inches ECd 24 Poor George (After PG) # 15, 2004 ink on paper 14 x 16 inches ECd 41 Poor George (After PG) # 16, 2004 ink on paper 14 x 16 inches ECd 42 Poor George (After PG), Second Row: Poor George (After PG) # 14, 2004 ink on paper 14 x 16 inches ECd 40 Poor George (After PG) # 4, 2004 ink on paper 14 x 16 inches ECd 25 Poor George (After PG) # 7, 2004 ink on paper 14 x 16 inches ECd 33 Poor George (After PG) # 8, 2004 ink on paper 14 x 16 inches ECd 34 Poor George (After PG), Third Row: Poor George (After PG) # 9, 2004 ink on paper 14 x 16 inches ECd 35 Poor George (After PG) # 13, 2004 ink on paper 14 x 16 inches ECd 39 Poor George (After PG) # 11, 2004 ink on paper 14 x 16 inches ECd 37 Poor George (After PG) # 10, 2004 ink on paper 14 x 16 inches ECd 36

Their pure white and dense black ribbons float from wall into mid-air, throwing sharp shadows onto the gallery walls and alluding to the organic and the mystical, like the artist's gentle transcriptions on canvas.

2011: Circulatory System, White Walls Gallery, San Francisco; Rudimentary Perfection (the first Graffuturist exhibition), Recoat Gallery, Glasgow, Scotland; Unintended Calculations (with Remi / Rough, Jerry Inscoe, Scot Sueme), Becker Galleries, Vancouver, BC; Street Cred: Graffiti Art from Concrete to Canvas, Pasadena Museum of California Art, Pasadena, CA; 2010: Retrofitted & Other Forms Of Vintage Futurism, White Walls Gallery, San Francisco; OP Straat, 3 man exhibition with Mear & Retna, Willem Kerseboom Gallery, Amsterdam, Netherlands; L'Art Urbain, Addict Gallery, Paris, France.

So I leave the room and go around an exhibition of paintings in White Cube's larger galleries — lots of quite interesting canvases, but a bit bland overall.

[citation needed] For his first New York City solo show in 1973, Buren suspended a set of nineteen black and white striped squares of canvas on a cable that ran from one end of the John Weber Gallery to the other, out the window to a building on the other side of West Broadway and back.

Within the first hours of the fair, Van de Weghe gallery sold a Jean - Michel Basquiat painting for $ 5.5 million and Mnuchin Gallery sold a «Mao» portrait by Andy Warhol for $ 4.5 million and a white Robert Ryman canvas for $ 1.5 mgallery sold a Jean - Michel Basquiat painting for $ 5.5 million and Mnuchin Gallery sold a «Mao» portrait by Andy Warhol for $ 4.5 million and a white Robert Ryman canvas for $ 1.5 mGallery sold a «Mao» portrait by Andy Warhol for $ 4.5 million and a white Robert Ryman canvas for $ 1.5 million.

And, as such, Hirst's most recent work in London, both in his own sponosored exhibition of «Blue Paintings» at the Wallace Gallery and separately at White Cube in the «Nothing Matters» exhibition, are works on canvas, though they generally have not been well received by the critics and the press.

The exhibition at Lisson Gallery will include Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

The final gallery presents nine «Therapy Paintings,» automatist drawings from Mr. Pruitt's therapy sessions that have been blown up and printed on canvas prepared with white impasto.

White Cube's Jay Jopling lost the bidding of Afrosheen the coveted oil on canvas which was estimated at $ 510.900 - $ 681.200 and finally sold for a record - breaking $ 2.246.481 to a telephone bidder.The piece was part of a small group of works from Charles Saatchi sold to benefit the Saatchi Gallery's Foundation.

In the current show at Boone (where recent excursions into the art of Peter Saul, the late Ed Paschke and now Bernstein, have turned the gallery into something of a haven for the veteran mavericks of American painting), each canvas is lit by two pairs of alternating white and ultraviolet spotlights, so that you are looking at the colors the artist actually mixed, but heated to a discreetly hyper - pigmented buzz.