Sentences with phrase «abstract wall works»

The exhibition will feature two shelf sculptures that simultaneously preserve and occupy the space; abstract wall works made from cedar shingles and an installation dedicated to interior designer Victoria Hagan.

Lee Bontecou is an American artist best known for her abstract wall works that feature reliefs, hanging sculptures and miniatures.

Not exact matches

And like a gallery wall, you can do a mix of photography prints, abstracts, and typographic art... If the thought of accumulating enough framed pieces to pull off the look scares you, just take it one piece at a time (like the last photo), start out symmetrically (like the first photo) and work your way ledges and large groupings (all the photos in between!).

Featuring 2 gorgeous abstract works of art, encased in handsome black frames lined in silver, the Set of 2 Trajectory Framed Wall Art from Uttermost will bring sophisticated beauty to any room of your home.

Her work includes landscapes, seascapes and figurative images, bridges and walls, industrial and abstract compositions, and Asian and Judaica themes.

He has shown his work in numerous exhibitions around Ireland and abroad, from wall based abstract pieces and posters to large room filling installations.

Two portable walls roughly subdivide the gallery in half, with one side devoted largely to hyper - detailed and / or highly graphic works, and the other mainly to more loosely expressionistic and / or abstract pieces.

«Human Applause» is quiet group show of mostly wall works with muted tones and abstract compositions.

He continues to mix observational photography with abstract work, often montaged in his signature displays in which photographs, magazine cuttings and photocopies are taped directly onto the wall at different heights and arranged in vitrines or on tables.

Along the back wall is a fivesome of the more abstract kind of paintings Mr. Oehlen took up in 1988: soupy brown - gray blurs reminiscent of de Kooning, and embellished with sharper, brighter forms, as if the brooding artist had suddenly cheered up in the work's final stages.

Her sculptural works are often site - specific, making use of architectural space and working in tandem with abstract wall drawings to form the installations as a whole.

The show's title, «Blue Black,» comes from another abstract work: a two - panel vertical wall sculpture, half black, half blue, by Ellsworth Kelly that the Pulitzer Arts Foundation owns.

Spanning an arc to the present day, works of abstract, figurative, and textual art by Ernst Caramelle, Jimmie Durham, Douglas Gordon, Arturo Herrera, Imi Knoebel, Michel Majerus, Gordon Matta - Clark, Dan Perjovschi, Kay Rosen, Bridget Riley, Ulrich Rückriem, Kilian Rüthemann, Karin Sander, Thomas Schütte, Anri Sala, Josh Smith, Rinus Van de Velde, Alexander Wagner, Kara Walker, Lawrence Weiner, and Richard Wright have been realized directly on the walls.

Outstanding works in the contemporary collection include Frank Stella's monumental geometric painting Raqqa II (1970), Ellsworth Kelly's minimalist painting Blue Panel (1980), Anselm Kiefer's Untitled (1980 — 86) triptych, Gerhard Richter's abstract painting Station (577 - 2)(1985), Elizabeth Murray's three - dimensional painting Pigeon (1991), Guillermo Kuitca's evocative painting People on Fire (1993), Sean Scully's luminous painting Wall of Light Peru (2000), Jaume Plensa's illuminated sculpture Doors of Jerusalem I, II, & III (2006), Beth Lipman's monumental glass sculpture Bride (2010), Mickalene Thomas's powerful painting Three Graces: Les Trois Femmes Noires (2011), Kehinde Wiley's provocative portrait Judith and Holofernes (2012), and Yinka Shonibare's dynamic outdoor sculpture Wind Sculpture II (2013).

Think of an Ellsworth Kelly: an abstract consideration of the relationship between figure and ground; a conscious questioning of the conditions that underlie perception; an exploration of the relationship of painting and wall, sculpture and space, viewer and work.

Joyner, a former Wall Street executive turned arts patron, is currently touring works from her and her husband Alfred Giuffrida's collection of nearly 400 works by black abstract artists including Sam Gilliam, Melvin Edwards, Mark Bradford, Shinique Smith, and Kevin Beasley, with an aim «to rewrite art history,» as Joyner described it in a recent interview.

A similar question of identity occurs in a Lavier work entitled Paragon (1986) in which a ping pong table, mounted on the wall, is thickly repainted in its original green and white, looking not unlike radical abstract painting.

Rising in loose arcs across the expanse of the Foster wall, the drawing is an abstracted symbol of the word «plunder,» from which the work takes its name.

His work makes references to the late modernist tradition of the New York abstract expressionists, yet stand out as the products of a contemporary struggle, pointing at the grey blocks of paint covering up graffitied walls of Istanbul, metaphorically paralleling the country's everlasting attempt of covering up creative progress of free direction.

Working on a wall - filling scale associated more with painting than printmaking, Gueorguieva draws from several 20th - century styles, including cubism and abstract expressionism.

Rectangles of unglazed porcelain upended and attached to the wall become blank scrolls, perfectly new, waiting for words in the Buddhist works of Liu Janhua; and quite possibly invoking the memory of all the white abstract paintings seen in an earlier gallery.

A series of sculptural assemblages, ethereal wall works, and a performance with attendant sculptures or props, present a diverse library of possible forms for the expression of images of an abstract physical and psychic body.

An earlier work, Affinity (2011), takes a more abstract approach, with vibrant geometrical diamonds of pastel colors and white in a textile - like pattern that create a surprising degree of physical depth, like two walls meeting to form the corner of a psychedelically wallpapered room.

Scattered around were a number of wall and floor pieces — the well - known automobile parts crammed and jammed into muscular, abstract conglomerates, lacquered metal shards, a big twisted urethane foam work from 1966, and a room filled with the newer collapsed galvanized zinc sculptures made from

Surprisingly, some rooms in the space have white walls hung with wall works like your average gallery, but passing through a door leads you to rural wooden spaces with angular roofs filled with a wide array of digital works like a manipulated vinyl rendering of a Fuji water bottle by Yung Jake and an abstracted digital painting of Alexandra Marzella by Giovanna Olmos.

The work focuses on the artists Wall colorings series where Chad has progressed into pure abstract forms, a transition from his earlier work involving representational imagery.

Johanna Jackson's recent work involves designing and knitting garments, creating abstract wall hangings, and ceramics.

Employing a range of materials including bronze, wood, terracotta, silicone, concrete and silver, Tallur L.N. creates sculpture, wall pieces, site - specific installations and interactive work that delve deep into the dichotomies between the tangible and the ethereal, the figurative and the abstract, and the decorative and the conceptual.

The exhibition titled «Wall Colorings» consisted of large works on canvas furthering the artists» experimentation into abstract geometric work.

The work comprises an immersive environment, in which a sequence of images is projected onto walls collaged with aluminum foil, doodles, paintings, and sculpture, resulting in an ever - shifting, abstract composition.

His early works are great, but we could do without the years of globby abstract wall sculptures.

At that time, illusionistic abstract works appeared on the walls of major museums and galleries around the world.

Perfectly paired, artists Ty Pownall and Yvette Gellis offer large - scale, abstract mixed media works that seem to have slipped from the walls and onto the loor on their own.

On the 6th floor lobby and inside the painting classroom paintings depicting various imagery — some more abstract than others — are hung on the walls while sculptural paintings are positioned around columns and placed on the floor and hung from the ceiling creating a maze of works.

This impasto «surface interference» also recalls Stingel's creation of inscribed or imprinted surfaces in abstract works, whether the seminal gauze paintings, Styrofoam reliefs, or the literal fragments of trodden carpet that he has transposed onto walls.

In this substantial volume, the works of the infamous mid-century French visionary artist, Yves Klein — famed for having been photographed jumping off a wall, «into the void,» with his arms outstretched as he moved rapidly towards the pavement, as well as for having claimed and patented his very own shade of the color blue — are presented alongside paintings by the artist whose work influenced him most profoundly: his mother, the bold abstract painter Marie Raymond (1908 - 1972).

Sprawling across two gallery walls, the monumental black - and - white installation contains traces of markings typically found in Rodriguez's abstract work: solid rectangles juxtaposed against flattened transparent forms and ghosts of rectangles hovering in the distance.

In 2008, Vavrek started experimenting with using sculptural geometric forms as the basis for imagery painted in glaze, which is something he developed further when he started his abstract sectional wall works in 2012.

Employing a range of materials, Tallur L.N. creates sculpture, wall pieces, site - specific installations and interactive works that delve deep into the dichotomies between the tangible and the ethereal, the figurative and the abstract, and the decorative and the conceptual in order to reveal new meanings on contemporary existence.

Wall texts lay out his basic themes and motifs, from strange meditations on Donald Duck and the «tent paintings» in the 1960s to later works that took up symbols from Germany's Nazi past, and repurposed them as surreal «dithyrambs,» a term borrowed from Greek poetry but reinvented by Lüpertz as a catchall for his not - quite - abstract forays into abstraction and not - quite - figurative exercises in drawing real things in the world.

The final wall highlights more abstract work that recalls the Belgian poet - painter, Marcel Broodthaers.

He used that method for inspiration when creating early abstract works such as «Colors for a Large Wall» and the series titled «Spectrum Colors Arranged by Chance» (both 1951), checkerboards of colour, black, and white squares assembled in a random order.

These images have taken on a spectacular and seductive presence in his installations, enlarged into enormous inkjet prints, pinned to the wall or framed, like the works of a latter - day abstract expressionist.

Literally tearing apart these books — widely published arbiters of authenticity — and reconstructing them into abstract two - dimensional works for the wall is, as Jones writes, «a means of creating a medium that communicates this feeling of being on the outside, as well as providing a possible resolution to the search for a place of inclusion and identity as an outsider.»

On a higher level, three abstract - formed suspended neon works (Breathing Neons) light up and dim on rotation, concurrently engaging in a dialogue with the discreet small window (After Hours, 2015) on the opposite wall.

Ivelisse Jiménez makes abstract, three - dimensional wall works that re-inscribe the flatness of the wall by making reference to it through layers and layers of appliquéd and hanging plastic forms.

Working out of her antiques shop in Hudson, New York, she refashions decrepit wooden boxes into wall reliefs that measure less than 6 by 12 inches and enlivens them with roughly geometric, abstract paintings.

In his later career, Nash's relationship with fellow artist Eileen Agar led him to become much more abstract and surreal, resulting in a work where a tiled wall can be found in a hay field.

His large - scale wall works are highly unique and combine artistic aesthetic reminiscent of the abstract expressionists with the handmade technique of fine craftspeople.

The auction record for an abstract work by Sean Scully was set in 2012, when his geometric oil painting, entitled Wall of Light, Stone, was sold at Christie's, in London, for # 601,250.