Sentences with phrase «against painted space»

Not exact matches

Now filming its third season, the show pits Leroy against three fellow antique dealers, who jet off to locales like Normandy, Glasgow and cities across the United States, bidding for everything from Chinese space helmets to 18th century paintings found at airport lost - luggage auctions.

The floor in the back seat is flat, and seat cushions in Honda's 60/40 split «Magic Seat» back there fold up against the seatbacks to provide nearly 4 feet of vertical space for standing up tall plants and paintings inside.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

In a modest sized rectangular white walled exhibition space, objects of daily use, artifacts ancient and new, paintings and pots, quilts, and kimonos were arrayed on two tiers, hung from the ceiling, against works hung on wall that were subtly dematerialized by natural light coming from unseen skylights along the edges of the dropped ceiling.

Philip Taaffe's new paintings press your face up against a fence, and, like the first line of The Sound and the Fury, leave you looking «between curling flower spaces.»

Sunday night 19 artists converged in The Active Space to compete against one another in a Bob Ross landscape painting takedown

Aruna D'Souza's new book Whitewalling: Art, Race & Protest in 3 Acts (Badlands Unlimited) presents, in reverse chronology, three events that sparked protest against racism at New York art institutions: the inclusion of Dana Schutz's painting of Emmett Till in the 2017 Whitney Biennial, the white artist Donald Newman's solo show titled «The Nigger Drawings» at Artists Space in 1979, and «Harlem On My Mind,» an exhibition of all - white artists at the Metropolitan Museum of Art in 1969.

In protesting against this act of censorship to have the painting removed we are not necessarily endorsing the views of the artist but his right to express his views and the Goodman gallery to provide a neutral space for the exhibiting of his work.

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 floor.

1999 Contemporary Japanese Art I, 1950s - 1970s from the Collection, The 10th Anniversary of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Eyes Watching the Space, Enjoying Painting and Space, Niigata City Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions of the Times, Machida City Museum of Graphic Arts, Tokyo, Japan Against Educational Course of Contemporary Art, The 20th Anniversary of Museum Opening, Itabashi Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine Arts, Tokyo, Japan Out of Actions: Between Performance and the Object 1949 - 1979, The Museum of Contemporary Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum of Applied Arts, Vienna, Austria Museu d'Art Contemporani, Barcelona, Spain Museum of Contemporary Art Tokyo, Japan

The space was filled with an overwhelming variety of materials and half - finished acrylic paintings stacked against the walls.

Across the space, still - life paintings depicting everyday objects and formal explorations will be installed against a backdrop of Du Pasquier's wallpaper designs, juxtaposed with the sculptures, textiles, and design objects that inspire her work in painting and illuminate her iterative process of creation.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

Eric Mack's «Partition» — a wall of messily painted pegboards — divides the gallery space in two, while his sculpture with moving blankets and other media, «Finding Comfort in Easy Distinction,» slumps against the far wall like a dejected drunk.

Father and child against a window (or another painting) in a space that reads almost as bas - relief that flattens out, then opens up again inside your mind.

One can almost see your strokes as a kind of allover calligraphy, and there is something about the space in some of your paintings that seems to build into a space like, for example de Kooning's ribbons of color that are layered and overlapping, and working with and against gravity.

Well, she did lead a protest against «The Nigger Paintings» by a white male at Artists Space in 1979.

In his painting Superman and the Super Dogs Find God in the Asteroid Belt (2016), the shiny blue suits of Superman and his dogs glow against a bright orange space while God is a bright green cyclops on a cross.

In his portraits, Thiebaud employs a similar approach, placing his sitters against an expanse of blank, white space, with minimal props and pared - down settings, as in the two paintings Sterling Holloway (1965) and Green Dress (1966/2017).

Brilliant beams of white, yellow, orange and red emanate from the buoy and flow upward against a deep black, star - specked background as if it were floating through space in a sci - fi scene that's been invaded by webs of Abstract Expressionist paint.

Categorized against his will as a Minimalist or Abstract Expressionist, Flavin is best known for his unembellished, rationalistic displays of light - tubes, often shown in gigantic installations that sought to invigorate dead spaces or voids by painting them with the medium of light.

The large - scale works included in Against the Wall are primarily based on media imagery documenting Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed space of painting.

Here a dynamic structure is achieved through the juxtaposition of a large monochromatic star motif painted directly on the wall against a backdrop of loose, free flowing technique on papersheets rearranged by the artist to engage the viewer into the depths of illusionistic space.

Except in Alison's paintings, these visual constructions refer to unfathomable things, textures, spaces, veils or faces, that we'll never get to name or see because they work through and against their conventional signs.»

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

The photographs are staged in the artist's studio and incorporate the remains and evidence of the process of making ceramics, often against a painted backdrop that creates a fictitious depth and architectural space.

1993 Merce Cunningham Dance Company Benefit Art Sale, 65 Thompson Street, New York, USA I am the Enunciator, Thread Waxing Space, New York, USA Darkness and Light, Blaffer Gallery, University of Houston, USA (curated by Marti Mayo) Zeichnungen setzen Zeichen, Galerie Raymond Bollag 1, Zurich, Switzerland 44 Kunstler der Documenta IX: Arbeiten auf Papier Rewriting History: The Salon f 1993, Montgomery Glasoe Fine Art, Minneapolis, USA Painting, Texas Gallery, Houston, USA Drawing the Line Against AIDS, Peggy Guggenheim Collection, Venice, Italy (Under the aegis of the 45th Venice Biennale — Reinstalled at the Guggenheim Museum Soho, New York) XLV Biennale di Venezia, Italy, Tresors de Voyage (al Monastero dei Padri Mechitaristi dell» isola di San Lorenzo degli Armeni) Abstract — Figurative, Robert Miller Gallery, New York, USA Eight Painters: Abstraction in the Nineties, Carl Solway Gallery, Cincinnati, USA Living with Art: The Collection of Ellyn & Saul Dennison, Morris Museum, Morristown, USA

The Harlem Renaissance, with its celebration of African American music, art, literature and history, was in full force, as paintings such as William H. Johnson's vibrantly coloured Street Life, Harlem (1939) and Arthur Dove's Swing Music (Louis Armstrong)(1938, below) suggest, while the latter also reflects the rising force of abstraction, its irregular shapes in varying reds and yellows against a deep black background evoking «red hot» jazz in a darkened space.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

A seemingly disorderly pile of box - like coloured shapes, flatly rendered in a shallow pictorial space, are featured against a painted grey ground.

The ruler on the left lies flat against the painting's two - dimensional surface, while the middle one tapers upward, suggesting that it is tilting away from the painting's surface, and moving back in space.

Using the logic of radical material transformation, lightweight panels lean flat against the wall, while others, warped by the application of water - based paint, stand independently in space.

Against the historical background of mural paintings and wall designs dating back over millennia, artists in the early 20th century devised concepts for wall paintings, picture walls and wall reliefs, which went beyond the frame of an individual image in order to take an entire wall or interior space into view.

This balance makes up her definition of Hard Edge painting — wherein color forms are positioned against each other, alternating between being a positive or negative space.

The majority of Thomas's Space paintings are large sparkling works with implied movement achieved through floating patterns of broken colors against a white background.

Painting also proposes a fictive, illusionistic space that I employ to bump up against more literal experience of things in the world.

Printed as a diptych toward the center of the novel, Glenn Ligon's 1991 painting reads, «I Feel Most Colored When I Am Thrown Against A Sharp White Background,» unequivocally communicating the frustrations Black men and women are made to feel in predominantly white spaces.

By adding color and suspending two overlapping portable walls, the dimensions and the mood of the room changed as it heightened a sense of intimacy, which juxtaposed against the larger viewing space, gives those paintings more breathing space.

I paint the layers, guided by the study, and then play the opaque elements against the color «field» and pictorial space as it has developed.

The large - scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting.

There are openings to other spaces, bathed in light or cloaked in darkness, but the spatial illusion in his paintings is fused to a sense that the entire picture surface is leaning up against the picture plane, pushing into our world rather than receding away from it.

Working for a company whose contracted venues mandate sandblasting and painting in spaces where he barely fits, Lance must use Superman strength, Ironman agility and Spiderman courage to keep from being crushed against the walls and wounded by the heavy equipment he carries.

On the wall on the left, a large oil painting of white birch trees against a muted blue & green backdrop would breathe even more life into the once sterile space.

Blue painted woodwork stands out against the wallpaper and adds another colour element to the space.

There were oodles of BEAUTY - FULL paintings stacked in wooden crates, leaning up against the walls, and hung on just about every open spot of wall space.

Once the walls are clad & painted, and the crown and base molding are also attached and painted - we'll be able to move on to «Bookcase - all - up - in - yer - Face 2011», a.k.a «building the bookcase that will go up against the wall» in the space Kev is measuring in this photo...

Choose pieces of furniture that fit well and add to the quirky character; the chinese console table is a perfect slim fit for the narrow space and has been painted a deep blue to look majestic against the jewel coloured backdrop.

Shaw's recycled - hickory flooring, in a deep - brown stain, anchors the airy space and contrasts against the walls, painted Spring Mint by Benjamin Moore.

It's perfect for the space because it's light and airy and the burnished gold color is so pretty against the paint color on the walls.

When placed against the installed island, this black - painted cart extends the counter space, but it can be easily relocated for convenient use elsewhere.