Sentences with phrase «against canvases in»

She splashed colorful paint against canvases in homage to brighter days.

Not exact matches

It's a gentle version that Brinley gives, and once the New Englandy town of Mammoth Falls starts to believe Dinky Poore's fib about the monster in Strawberry Lake, The Mad Scientists» Club picks up another classic element of boys» books» for that's the moment when Henry Mulligan, the club's vice president and chief of research, leans his piano stool back against the wall of Jeff Crocker's father's barn and begins to think about how the boys could use their radio equipment, a wrap of canvas around a chicken - wire frame, and a quiet outboard fishing motor to make the monster come alive.

In London against Nigel Benn, McClellan didn't quit either, though the fight ended with him bending one knee to the canvas and the referee counting to 10; no, against Benn, McClellan fought until his brain was bleeding — until he walked back to his corner and collapsed, a blood clot growing inside his skull that would soon spark a renewed debate over the morality of prizefighting.

Thinking about throwing him an art party with canvas and paint in water guns, eggs or balloons to throw against the canvas.

Like a flyweight amateur getting in the ring against the heavyweight champ, the ballot measure calling for a state constitutional convention hit the canvas hard and fast: Voters rejected it by a ratio of 5 to 1.

If students want to break boards, they have to not only increase their speed and improve their aim but also toughen up their hands and feet by striking them against a post wrapped in foam and canvas.

Trademark Fine Art Edged Teal I Canvas Wall Art features minimalist and abstract floral shapes in black with gold accents against a teal backdrop.

I love the blank canvas it provides any time, but I especially how it looks up against tanned skin in the Summer months.

I write better than I speak... and I can imagine a canvas that only God could draw Himself, that would have only the best colors and hues, perhaps on an autumn day in the Black Hills of South Dakota, where the golden wheat stalks are up against the red, orange and gold...

It has to be the silhouette — a figure in black against a dramatic canvas, almost always perfectly composed like a painting.

To give you an idea of how WordPress stacks up against conventional Learning Management Systems in terms of resource requirements, consider the installation zip file sizes for Moodle and Canvas, which are close to about 50 megabytes each.

In this price rage, the Mirror 3 will be up against the likes of the Motorola Moto G (2014), Micromax Canvas Nitro, and the HTC Desire 620G among others.

Against a teeming canvas of Borgia politics, Niccolò Machiavelli and Leonardo da Vinci come together to unmask an enigmatic serial killer, as we learn the secret history behind one of the most controversial works in the western canon, The Prince.

Tucson - based artist Kyle Kulakowski specializes in video game - inspired black velvet paintings, a medium that uses black velvet in place of canvas, allowing vibrant colors to pop out more against the dark background.

Each portrait is the same size, and shows the sitter in the same chair against the same background, «yet Hockney's virtuoso paint handling allows their differing personalities to leap off the canvas with warmth and immediacy -LSB-...] offering an intimate snapshot of the LA art world and the people who have crossed the artist's path over the last years.»

The installation features a svelte, ladderlike sculpture draped in a coat like painting set against two canvases with nearly identical imagery.

Other compositions in this series feature an assortment of shapes — including Xs and ziggurats — all pressed against the edges of the square and rectangular canvases and all similarly striped with such colors as goldenrod and cool green.

Every review from Jackson's recent upswing stone - raves about a series of paintings in which the artist paints the canvas of a handful of pictures and then circular - smears them against the wall.

In this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the flooIn this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the flooin the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the flooin the upper space they're propped against the wall, as they rest on the floor.

He also likes the manic energy of pop culture, warns against it in the interest of reason, and incorporates it onto canvas anyway.

In this show, most of the canvases are carefully installed while a few are left casually leaning against a wall, indicating a recent exchange of thoughts, perhaps a sale — surely a conversation of some kind.

The canvases were accompanied by a group of 11 wonderful works on paper, such as Untitled (Robots), ca. 1967, in which a hand outlined in bright orange dots seems to be saluting an exodus of identical humanoids, their arms tight against their bodies, streaming into planetary space.

Metz's Pillar is just that — a freestanding, cube - like sculpture comprised of individual sections also rendered in blue dye against an untreated canvas.

An adjacent canvas, one of a series of new figurative works in the exhibition, depicts a painting Murillo encountered in a collector's home in Bogotá — showing a young boy selling fish — against Regency - style wallpaper and antique furniture.

As the materiality of the substance pulls against the canvas, and falls in to piles, the form of the piece is controlled through its own restraint, gravity and friction.

Born in 1936, he rebels against formalism in his own way by placing the stepped fields arbitrarily within a canvas.

He is also known for funding his real - estate investments in this neighbourhood partly through the artworks that he sells in galleries — notably vertical stripe paintings made from the wooden floorboards of school gym floors (sourced from condemned Chicago public schools) or canvas fire hoses (in reference to their brutal use against civil - rights protestors in Birmingham, Alabama, in 1963) and also for his expressionist black paintings, abstractions made in tar in collaboration with his father, a retired roofer.

Named after the ancient cities whose circular plans Stella had noticed while traveling in the Middle East during the 1960s, s these works usually comprised several canvases set flush against one another so that the geometric figures in each section came together in a larger, more complex whole.

Admiring this monumental canvas — replete with hues of white truffle, viridian and lapis lazuli — one discovers chromatic equivalents to the cypress trees and succulents that blanket the Cap d'Antibes» coastline, the cacophony of terns and gulls wheeling and feeding in the roaring surf and the sting of sea spray against one's face.

We thing back onthe movement that is known chiefly by its American exponents such as Dan Flavin, Carl Andre, Ellsworth Kelly, Agnes Martin and Donald Judd who reacted against Abstract Expressionism in their stark canvases, sculptures and installations.

Variable Mix - up (1967), for instance, consists of four square canvases fit together to form a jagged shape and mounted diagonally on the wall, yellow bands outlined in orange against a solid, deep blue ground running through them.

In a departure from previous works, the new paintings pair color against color, rather than incorporating white or raw canvas to stabilize the foreground.

In her pulsating new large - scale canvases, Gilfilen pits clashing colors against one another in snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of painIn her pulsating new large - scale canvases, Gilfilen pits clashing colors against one another in snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of painin snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of paint.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

sewn in the same way as Suh's «hubs», these pieces are immersed in water, during which a gelatin tissue canvas leaves an impression of fabric threads that appear as a skeletal framework against the colored form of an object.

In these early galleries, perfunctory sketches alternate with paintings like «Modern Art» — a brief anthology of enervated abstract marks against a black ground — that skewer a half - century of avant - garde rhetoric in one mid-size canvaIn these early galleries, perfunctory sketches alternate with paintings like «Modern Art» — a brief anthology of enervated abstract marks against a black ground — that skewer a half - century of avant - garde rhetoric in one mid-size canvain one mid-size canvas.

sewn in the same way as suh's «hubs», these pieces are immersed in water, during which a gelatin tissue canvas leaves an impression of fabric threads that appear as a skeletal framework against the colored form of an object.

Her works push the boundaries of a two - dimensional medium; the irregular triangles in the «Giant Maiden» series (1972) strain against the edges of canvases painted in high relief, while the explosive colors on an intricate collage - like canvas in Do the Dance (2005) lend the painting a kinetic, almost optical quality.

With layered washes of similarly hued watercolors, the canvases of this London - based German artist seem at first monochromatic, but slight changes in light or a viewer's position reveal clusters of dancers, a single body pressed up against the edges of the picture plane, or a moonlit landscape.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc TuymaIn the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymain which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

When a huge dark bubble pushes up against the edges in 1976, the ground has become figure, and canvas has reached the breaking point.

In these playful, environmental works, such as spinach and banana (2013), Estna arranges her paintings in various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through theIn these playful, environmental works, such as spinach and banana (2013), Estna arranges her paintings in various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through thein various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through them.

In «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgroundIn «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgroundin London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgroundin black paint, forming abstract shapes against their shimmering slate backgrounds.

Alex Katz captures his wife and muse, Ada, on the beach against the cobalt blue waters of the Maine harbor in his 6» x 16» oil on canvas, Harbor # 8, 1999.

How could Hodgkin's crudely daubed, splishy - sploshy canvases (I exempt from the description a few works painted at the highpoint of his career in the mid-Seventies) bear scrutiny against works by Rubens or Rembrandt?

Ricocheting her unmistakable touch against canvas, paper and, significantly, the wall itself (I found the outsize oval «eyes» of Blinkies, 2013, which have been slapped onto the wall in the rear of the space next to the bathroom door, particularly effective), Pensato, like de Kooning, has taken on everything from popular culture to taste to the nature of expression itself.

Part texture (collage, oil on canvas, pastel on paper) and part flat surface, her use of line with geometric shapes in the horizontally moving base juxtaposed against the lines evaporating upwards makes for an effective image, although again subtle.

These sculptures and others from the last twenty years are quite different from Hammons's body prints (the earliest works in the show), which he made by smearing his body in oils and pressing it against canvas.

In the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the walIn the strongest work in this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the walin this show, what look like cut - up scraps of painted canvas are really thick swaths of acrylic paint, peeled off a flat surface and draped over bare wood stretcher bars leaning against the wall.

These vacant passages are then juxtaposed against areas overlooked by Richter's squeegee, resulting in the full spectrum of the artist's unique painterly style visible across the surface of the canvas for all to see.