Sentences with phrase «york painting studio»

Mait is a sculptor by training who is clearly having a ball in her New York painting studio.

Not exact matches

Welcome to Bunch of Fun, an indoor playground, pottery painting studio, cafe, and birthday party place at 11 Kodiak Crescent, North York, Toronto.

Fun trivia fact for those who don't know: James Cameron, who cut his teeth in Corman's studio, worked on the effects for Escape from New York, including a Manhattan skyline matte painting.

But if it's a B - movie by definition — it runs a mere 65 minutes and makes the most of minimal resources: New York is a stock street set surrounded by stock footage, hobo camps and rail - side meadows are tiny studio sets with painted backdrops, and the few location shots are surely just down the street from the studio lot — it's a B - movie with ambition.

In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Frankenthaler's stain paintings after visiting her studio in New York City.

Soon after the opening reception of his survey at Yale University's Edgewood Avenue Gallery, Malcolm Morley In A Nutshell: The Fine Art of Painting 1954 — 2012, curated by Robert Storr, Dean of the Yale School of Art, (January 31 — March 31, 2012), and Malcolm Morley: Another Way to Make An Image, Monotypes at Sue Scott Gallery (January 11 — February 19, 2012), publisher Phong Bui made a trip to Brookhaven Hamlet, Long Island, New York to visit the painter's home / studio, a former church he has shared with his wife Lida Morley since 1986.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

Lee Quiñones (b. 1960, Ponce de Leon, Puerto Rico) has been painting since the 1970s, first on New York City's streets and subway cars, and then shifting to a studio - based practice.

A studio visit with the New York - based painter and drawing maker David Row, who presents his recent work, traces his development, and reflects on abstract painting's open - ended possibilities of meaning.

Suzan Frecon and Bellatrix Hubert laying out the artist's 2017 solo exhibition Suzan Frecon: recent oil paintings at her studio in upstate New York, 2017

Although he'd been in New York for less than a week, for the successful opening of «Ancienne Rive,» the solo show of new paintings that surrounded us, Yanai told me he was ready to return to his studio and to painting — to the work that most fulfills him.

Keltie Ferris's paintings are inspired by subjects that range from the broken up pixelation of digital images, rubbed out graffiti on New York streets to the glimmering city lights that are visible from her Brooklyn studio at night.

He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky.

Reacting to a 2008 review in ArtNews, Portilla agreed that the forms in his work reflect the cityscapes of New York, his longtime residence and location of his painting studio.

Kate and Clarity talk to him in his Brooklyn studio about the sociology of urban plein air painting, gentrification in New York City, and how being in therapy and drawing his «dream emotions» made him a better artist.

1/1 - Elizabeth Murray in her studio beside the early stages of the painting «Web» 1991 / © The Murray - Holman Family Trust / Artists Rights Society (ARS), New York.

Teaching 2017 Cooper Union, New York NY Visiting Teacher in the School of Art 2016 - 2017 Massachusetts College of Art and Design, Boston MA Visiting teacher in the Studio Foundation department (Intro to 3D / Form Study) 2016 Tyler School of Art, Philadelphia PA Visiting critic for a graduate Painting and Sculpture seminar in the class of Matthew Sepielli 2015 - 2016 Harvard University, Cambridge, MA Teaching Fellow, working with Professor Stephen Prina to teach two studio art classes per semester for Fall and Spring semesters SVA, New York, NY Visiting artist for the class of Marc Joseph Berg

Park is a recipient of the Joan Mitchell Foundation MFA Grant; Grand Prize winner of the 19th Annual Michigan Fine Arts Competition; The Helen Foster Barnett Prize, National Academy Museum, New York; Skowhegan School of Painting & Sculpture residency, Skowhegan, Maine; Cité Internationale des Arts studio residency, Paris, France, and the Rockefeller Foundation Bellagio Center Arts & Literary Arts Residency, Bellagio, Italy.

She maintains a full - time painting studio in Sag Harbor, New York directly across from magnificent Noyac Bay.

Working in the surround, he continues to paint on an entire roll of canvas which is hung on a circular framework that stretches the length of his studio in East Durham, New York.

The paintings in the exhibition were made in New York this fall where the artist set up a studio earlier in the year.

Doig in his studio in New York, 2014 Courtesy of Michael Werner Gallery, New York / London Luc Tuymans in front of The Shore, the exhibition's title painting.

Image Caption: Artist Jamian Juliano - Villani at work in her studio, as captured in Art21's New York Close Up film «Jamian Juliano - Villani's Painting Compulsion.»

In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler's stain paintings after visiting her studio in New York City.

Gregory Amenoff's exhibition at Alexandre this month comprises sixteen paintings completed in his Ulster County, New York, studio over the past two years.

This compact show touched on the long arc of Mitchell's career, from her early, calligraphic slashes in the 1950s, when she was painting in a studio off St. Marks Place in New York and drinking with the AbEx boys, through her time in Paris in the»60s, and, until her death in 1992, in the French countryside at an estate with an overgrown garden and a

Reinhardt had been a great admirer of Mondrian, who had emigrated to New York in 1939, and had established his studio as a de Stijl - type installation — a three dimensional environment based on the geometric paintings in which he used rectangles of red, yellow, and blue as hues, with white and black in opposition.

Rotterdam, Museum Boymans - Van Beuningen; Kunsthaus Vienna; David Hockney: Paintings and Photographs of Paintings, October 1995 - April 1996, p. 15 (illustrated in color; studio view illustrated in color on the back cover); New York, Robert Miller Gallery, David Hockney: Paintings and Photographs of Paintings, May - June 1996; Washington, D.C., Smithsonian American Art Museum, Crosscurrents: Modern Art from the Sam Rose and Julie Walters Collection, October 2015 - April 2016, pp. 160 - 161 (illustrated in color)

In addition to the exhibition at Pace, Hockney's work will be the subject of two major upcoming museum exhibitions: David Hockney: 82 Portraits and 1 Still Life which opens in July at the Royal Academy, London, showing the artist's recent paintings done in his Los Angeles studio, and a retrospective of his work opening at the Tate Britain in February 2017, traveling to the Centre Pompidou, Paris, and The Metropolitan Museum of Art, New York.

Martin moved back to New York City and established an art studio on the Lower East Side, returning to painting as a means of creative expression.

She does her painting in this Clifton studio, but she makes her monotype prints in New York, where she and her husband maintain an apartment.

Chronicling an abstract personal account of his relationships, studio practice, and his sense of history through a spectrum of techniques, New York - based artist Richard Aldrich has in recent years placed himself at the forefront of a new approach to the medium that re-thinks how a painting is made, how it is experienced, and ultimately what it all means.

Quaytman developed a unique mode of painting, making curved stretcher bars himself by scoring and steaming them in his studio in New York's Bowery district.

Jasper Johns, pictured in his New York City studio in 1964, was known for transforming common objects like flags, numerals and archery targets into unsettling paintings.

Despite only coming to the attention of a wider art world a decade or so ago, Herrera has been painting for almost eighty years and continues to do so from her studio in Manhattan, the same apartment she has lived in since 1954, although her first stay in New York began in 1939.

Traveling widely from her home in Brooklyn, Halvorson's experiential process reaches outside the more common studio - based painting practices of New York City, taking her to train yards in Tennessee, a slaughterhouse in Iceland, and the English countryside.

View of the paint - splattered floor of an art studio used by American artist Jackson Pollock, East Hampton, New York, April 1991

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

Having moved from New York where he spent 13 years, to Vienna 4 years ago; having had a son and becoming a father, Butler has gone from working within a totally new environment, to producing paintings which are a uniquely personal expression, made at a time of ideal balance between his private and studio lives.

In the series of paintings of his New York studio, there is once again no natural light, but the terra cotta floor tiles and the views from the studio space into the bedroom animate and expand each view.

In his New York City studio, Takashi Murakami discusses his three - decades - long practice in which he blends traditional and modern art techniques to create enormous paintings with a visual power unmatched in contemporary art.

Robert Storr is a painter who supported himself by sheetrocking, carpentry, and house painting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same deppainting, along with occasional art writing, when in 1990, with only an MFA in studio art, Storr was picked out of the chorus line by the newly appointed Kirk Varnedoe, Chief Curator of Painting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same depPainting and Sculpture at The Museum of Modern Art in New York, to be a curator in that same department.

Hopper's painting, which depicts the view from his studio rooftop in New York, is unique in his oeuvre, and joins an already extensive collection of his work at the museum.

While teaching at these institutions, away from his New York studio, Vicente found himself unable to paint.

The exhibition is part of an expanding program of the New York Studio School of Drawing, Painting and Sculpture that is organized by Jilaine Jones as an initiative to take advantage of the gallery space within the Dumbo studios in Brooklyn.

To this day, Wool maintains a studio in Lower Manhattan, and his paintings still evoke the «aesthetics of decay» that he found so visually appealing upon his initial move to New York City.

Upon returning to the United States in April 1953, he went back to work in his Fulton Street studio in New York, completing this canvas and several others in what is generally understood to be his second wave of Black paintings.3

Installation view of Robert Rauschenberg's White Painting [three panel](1951) in the artist's Lafayette Street studio, New York.

Ferris is best known for her large, multi-layered paintings that depict glimmering pictorial spaces, inspired by various subjects including digital image pixelation, New York City graffiti and city lights that are visible from her Brooklyn studio at night.

Virginia Dwan, who offered him support at that time, remembers that he had a largely «underground» reputation.1 Dwan recalls first seeing Reinhardt's nine - foot black paintings at the Betty Parsons Gallery in New York and, later, visiting the artist in his studio.