Sentences with phrase «woodcut at»

As of Wednesday evening, ceramics priced at $ 6,000; a woodcut at $ 75,000; and other works ranging from $ 15,000 to $ 22,000 had already sold.

Zarina has participated in numerous exhibitions, including most recently Mind and Matter: Alternative Abstractions from 1940s to Present at the Museum of Modern Art, New York; Gouge: The Modern Woodcut at the Hammer Museum, Los Angeles; and WACK!

Also included is a rare text by Wassily Kandinsky, previously printed in a 1934 exhibition bulletin for a show of Albers's woodcuts at the Galleria del Milione in Milan.

No Rules: Helen Frankenthaler Woodcuts at the Clark Art Institute, MA.

She had recently seen an exhibition of fifteenth - century woodcuts at The Metropolitan Museum of Art, New York, and their faded colors reminded her of the tone of the red mulberries.

Not long after viewing an exhibition of fifteenth century woodcuts at the Metropolitan Museum of Art, Frankenthaler found herself in front of Tyler's tree.

Also included is a rare text by Wassily Kandinsky, previously printed in a 1934 exhibition bulletin for a show of Alber's woodcuts at the Galleria del Milione in Milan.

Represented South Africa at the Venice Biennale 1959 Solo exhibition of woodcuts at Wittenborn Gallery, New York Represented SA Touring exhibition, South and North America Painting and Sculpture, National Arts Club, New York Represented South Africa at Sao Paulo Biennale Represented on The National Arts Club International Exhibition of painting and sculpture, New York 1960 Represented South Africa at Ljubljana, Yugoslavia International graphic exhibition Exhibition of incised woodblock paintings at the Egon Guenther Gallery, Johannesburg 1961 Large mural, the Apocalypse, in Our Lady of the Rosary Roman Catholic Church Motsethabong, Welkom, Orange Free State Represented South Africa at Sao Paulo Biennale Made Stations of the Cross for Our Lady of Lourdes Roman Catholic Church, Rivonia, Sandton 1962 Guest Artist of the year at the Transvaal Academy Exhibition of Rock Faces, Egon Guenther Gallery, Johannesburg Designed tapestry St. Anne, woven by Marguerite Stephens, and carved the Stations of the Cross for St. Anne's Anglican Church, Piggs Peak, Swaziland 1963 Appointed President of South African Council of Artists in succession to Walter Battiss Principal witness against State at the Harold Ruben blasphemy trial Represented South Africa at International Conference of Plastic Arts at UNESCO, New York Became founder member of the Amadlozi Group consisting of Eduardo Villa, Sydney Kumalo, Cecily Sash and Guiseppo Cattaneo.

Not exact matches

At his request, I would send him various recently published scholarly works on Shakespeare and in return he'd send me eighteenth - century Russian woodcuts, one of which hangs in my apartment to this day.

A faculty member at Bethany explains the decision not to show the woodcut this way: «The issue for some, of course, is censorship.

At each stage of the progression from early woodcuts to steel engravings to modern methods of printing both line and full colour, the ability to reproduce more precise detail is possible.

I loved the way it combines a variety of styles — including some animation that resembles woodcut and some that looks like colorful paper puppets — and the way the animation is made to look flat in flashbacks so the present - day images pop out at us more vividly.

Crucially, it's VistaVision, that high - density 35 mm format that makes everything seem hyper - real and surreal at the same time, an entire world of woodcut surfaces that looks as if you can walk into it.

The show at Firstsite will be a unique presentation consisting of tapestries, woodcuts, ceramics and tiles designed for the House as well as sketchbooks and photographs that chart its development.

He exhibited with the Vorticists in 1915 and had his first solo exhibition of drawings and woodcuts in 1919 at the Adelphi Gallery.

The inspiration to use the typographic — a ready - made form — may have come from Nicholas Krushenick's graphic abstractions inspired by Matisse's cut - outs, Japanese woodcuts and comics; Jasper Johns» «alphabets» and «numerals,» which were shown in his groundbreaking debut solo show at Leo Castelli in 1958; and Willem de Kooning's black - and - white paintings «Orestes» and «Zurich» (both 1947).

Next up, Steamrolled VII, on view June 7 - July 14 at Williams Tower Gallery, will showcase a selection of woodcuts juried by Sally Sprout from the seventh annual Rockin» Rollin» Prints event held on April 23 at St. Arnold's Brewery.

For a 2014 exhibition at the Albertina, the late, precocious Austrian artist Gunter Damisch shipped a stack of precut wood panels from Vienna to Paris, leaving the Woolworth studio team to compose the final images as they pleased in a mix of collage, monotype, woodcut, drawing and painting.

TAG Fine Arts is exhibiting the brand new woodcut prints from highly acclaimed Japanese artist Katsutoshi Yuasa at the 33rd London Original Print Fair.

IMAGE: Second from top at left, «Untitled,» 2013 (woodcut on colored paper) by Chakaia Booker via David Krut Projects.

Benjamin Franklin, Join, or Die (May 9, 1754), woodcut, illustrated in «The Pennsylvania Gazette,» on view at «News / Prints: Printmaking and the Newspaper» at IPCNY, closed October 19.

«Renaissance Impressions», at the Royal Academy of Arts in London (until 8 June), plucks some of the world's finest chiaroscuro woodcut prints from the ample collections of the artist Georg Baselitz, and the Albertina in Vienna.

When Georg Baselitz's collection of chiaroscuro woodcuts went on display at the Royal Academy in London last month («Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna»; until 8 June), it reaffirmed his place in the pantheon of distinguished artist - colwoodcuts went on display at the Royal Academy in London last month («Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna»; until 8 June), it reaffirmed his place in the pantheon of distinguished artist - colWoodcuts from the Collections of Georg Baselitz and the Albertina, Vienna»; until 8 June), it reaffirmed his place in the pantheon of distinguished artist - collectors.

The artist created the original woodcut on which the book is based during a residency at the Atlantic Center for the Arts in 2009.

Frankenthaler's distinguished and prolific career has been the subject of numerous monographic museum exhibitions, including — in addition to the 1960 Jewish Museum show — major retrospectives at the Whitney Museum of American Art, and European tour (1969); The Solomon R. Guggenheim Museum, and tour (1985, works on paper); the Modern Art Museum of Fort Worth, and tour, including The Museum of Modern Art, New York (1989); the National Gallery of Art, Washington, D.C., and tour (1993, prints); the Naples Museum of Art, Florida, and tour, including the Yale University Art Gallery (2002, woodcuts); and the Museum of Contemporary Art, North Miami, traveled to the Royal Scottish Academy, Edinburgh (2003, works on paper).

Recent major exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Helen Frankenthaler: Composing with Color: Paintings 1962 — 1963 (Gagosian Gallery, NY, 2014); Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, in cooperation with the Helen Frankenthaler Foundation, 2014 — 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962 — 1987 (Gagosian Gallery, Beverly Hills, 2016); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, 2017); and Helen Frankenthaler: After Abstract Expressionism, 1959 — 1962 (Gagosian Gallery, Paris, 2017).

Katz's very latest large - figure paintings and landscapes were on display at PaceWildenstein's new branch in Chelsea, and the Peter Blum Gallery in Soho mounted a complete survey of Katz's woodcuts and linocuts.

What I'm finding is that the sensitivity that she was able to put in her colors, and at the same time she was able to work with the printer on pulling the colors from the woodcuts.

Jim Dine Printmaker: Leaving My Tracks explores Dine's etchings, woodcuts, lithographs and illustrated books from the last 50 years, drawing from the prints at the Museum of Fine Arts, Boston, where the artist has created an archive of his life's work.

Reflecting on the first artwork she and Andy bought — a $ 50 woodcut of a German art critic at the Provincetown, Massachusetts, art auction — Deborah emphasizes that cities need galleries that can take the time to befriend, educate, and excite young collectors.

Be sure not to miss an intricate and fantastical woodblock and lithograph edition entitled Monkey Biz by Duke Riley at Graphicstuide / USF; seminal prints by prominent American Pop artists Roy Lichtenstein and Andy Warhol at Gregg Shienbaum Fine Art; a visually hypnotic nine - color screen print by Jason Middlebrook at Flying Horse Editions; an impressive suite of etchings entitled The Caprichos by Emily Lombardo at Childs Gallery; striking figurative lithographs by American artist Robert Longo at Hamilton - Selway Fine Art; a bold woodcut by Royal Academy artist Eileen Copper at Rabley Contemporary Gallery UK; three - dimensional print sculptures by Lesley Dill and mixed media prints by Cuban artist Sandra Ramos at Tandem Press; a series of haunting portraits by the American artist Monica Lundy at Stoney Road Press / Ireland; colorful mixed media work by Stanley William Hayder at Susan Teller Gallery; subtle and contemplative photolithographic prints by Linda Schwarz at Wildwood Press LLC; and bold and colorful works by Alexander Calder and Chuck Close at Thomas French Fine Art.

The final section looks at sacred and devotional imagery in woodcuts.

Judd Foundation is pleased to present Donald Judd: Prints, a selection of woodcut prints and metal furniture, curated by Flavin Judd, at 101 Spring Street in New York.

At a stroke, the gift transforms the museum's German holdings — strong in the Renaissance (Dürerer's «Rhinoceros», Holbein, Cranach) and also boasting modernists (Kirchner, Klee)-- bringing it up to date with stellar, rare examples of drawings, watercolours, gouaches and woodcuts by Georg Baselitz, Gerhard Richter, Sigmar Polke, AR Penck, Blinky Palermo and Markus Lüpertz: works that brilliantly interpret the difficult history of the postwar divided nation.

Williamstown, Massachusetts — No Rules: Helen Frankenthaler Woodcuts, on view exclusively at the Clark Art Institute July 1 — September 24, explores Helen Frankenthaler's (American, 1928 — 2011) inventive and groundbreaking approach to the woodcut.

His work has been widely exhibited in China and throughout the world, including a show of his woodcuts and drawings, held at Berlin's Staatliche Museum in 2006.

In Jennifer Long's most recent solo exhibition On the Edge at the Percolator Gallery, Paddington (23 Sept - 6 Oct 2014) she presented a series of hybrid mixed media works - collage and oil on ply, rice paper bowls, etchings, lithographs, woodcuts and solvent transfers, where graphic and painterly styles combined in a new and contemporary manner.

Recognized primarily as a painter, his first print project began at Pace Editions in 2007, which resulted in «White Roses,» a thirteen - block woodcut that combined his signature black outlines with vibrant colors to create a rich, beautiful, and dynamic work.

Woodcuts by David Driskell, a scholar of African - American art who taught Mr. Adkins at Fisk University, hang in the dining room near prints of women's heads by Lorna Simpson (whose daughter modeled for a painting in the living room by Turiya Adkins, following in her father's footsteps by studying art at Dartmouth).

Pace Prints collaborator Nicola López will have a solo exhibition of massive woodcut prints, installed in a site - specific installation at Jacob Lewis Gallery, 521 W. 26th Street, 4th Floor.

This volume accompanies a major retrospective of Kiefer's works at the Royal Academy of Arts which includes a number of new works especially made for the exhibition and explores the themes that run through Kiefer's oeuvre, from the complex relationship between art and spirituality to the influence of German woodcuts and folklore.

«Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna» is at Royal Academy, Mar 15 to Jun 8; royalacademy.org.uk

Leading the charge, with half of the works, is acclaimed contemporary artist Georg Baselitz, whose collection of 120 16th - century woodcuts is to be exhibited at the Royal Academy.

Woodcuts in Modern China is organized by the Picker Art Gallery at Colgate University.

The Rising Tide of Change: Modern Woodcuts of China Renee Covalucci, co-curator of the exhibition, Woodcuts in Modern China, 1937 — 2008: Towards a Universal Pictorial Language, is a Boston - based printmaker and an adjunct professor of Fine Arts at Lesley University.

Pace Prints will present an exhibition that features Chuck Close's complex woodcut «Self - Portrait» (2015) and the process behind its creation on view at 521 W. 26th Street, 3rd Floor March 2 — April 8, 2017.

In addition to his well - known Cubism - inspired paintings and woodcuts, «At the Edge of the World» includes comic strips he created for German and American newspapers and wooden toys carved for his children.

Her work continues to be featured regularly in solo and group exhibitions, with recent examples including Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013), Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014), Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, 2014 - 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, both summer 2017), and Helen Frankenthaler: After Abstract Expressionism, 1959 - 1962 (Gagosian Gallery, Paris, summer 2017).

Woodcut on mylar, stencil on rice paper 24 x 37 inches Included in the Eleven Show at Leonard Street Gallery in London, England

He studied printmaking, woodcut techniques, and typography while at Cooper Union.