Sentences with phrase «against the canvas as»

Jenny Saville, «Ancestors» Opening: 6 — 8 p.m., Gagosian, 522 West 21st Street What you should know: YBA painter Jenny Saville hasn't had a New York solo in some seven years, so your appetite should by now be whetted for her grotesque depictions of bodies under duress, pressed against the canvas as a pane of glass, or grotesquely overweight, all recalling her countryman Lucian Freud's hungry paintings of abject flesh.

Not exact matches

Yes, it is essential to proclaim the meaning of St. John and St. Paul through the Holy Spirit, against a larger canvas of truth, as modern knowledge has made it possible for us to do.

Last October he won a bit of a reputation as a game loser against Tiger during an evening when each fighter was on the canvas twice.

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.

From the air, the islands of Northern Queensland appear as sparkling white - and - green oases against a watery Impressionist canvas dappled with a hundred shades of blue.

Those curved areas may look back to Henri Matisse as well, pressed against a painting's edge like the leg and torso of a grand nude — even as that very edge takes on a touch of bare canvas that seems to change its dimensions and to divide a painting into two slightly misaligned panels.

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.

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.

Most of all, she could concentrate on paint, with a gesture as simple as pushing a brush against canvas.

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.

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.

Unstretched canvas from the early 1970s has the same play of lightness against weight, much as for Sam Gilliam and Richard Tuttle.

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.

«While his contemporaries Donald Judd and Dan Flavin created work that was machine - made, I see Stella as a modern day John Henry, racing against the machine, brushing paint from one end of the canvas to the other and back again, setting an admirable and competitive pace.»

His drawings on paper are affixed to stretched canvas that acts as a container for the bird - monsters, amphibians and ghostly faces that crash against its margins.

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.

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.

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 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 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 Tuymans

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 them.

No detail was too small for Mr. Govan as he squinted his eyes and directed two workers, hoisting a framed canvas against a wall.

Two additional clumps support each canvas as it leans against the wall like some icon or ex voto, reminding us that painting is a universal, not Western, art form.

Do not allow any rigid object to press against the front or back surface of the stretched canvas as this could create permanent indentation damage.

«It's all self - initiated, no brief as such, no set subject; just the requirement to fill a large canvas against the clock.

For instance, Self Born, 1949, while taking full advantage of the «drip, blob, and spatter» method used by Jackson Pollock and Robert Motherwell, among others, went one dramatic step further by employing these devices not against the kind of flat, implied space that existed in Pollock's and Motherwell's canvases but within the infinite, clearly defined atmospheric space also found in the works of such Surrealists as Dali and Tanguy.

The Rose's exhibition included large - scale canvases like Love and Violence (1965)-- in which a man grabs a woman by the throat, while frames from a horror film unfold below against a blood - red background — as well as photo and video documentation from the 1960s through the 1980s of Drexler's theater pieces, which premiered at such avant - garde New York venues as the Judson Poets» Theater and Theater for the New City.

He emphasized spatial relationships in his work by leaving unstained, bare canvas as a contrast against the colors used throughout his paintings.

As an example of his work, Shozo Shimamoto's Bottle Crash performances consisted of the artist smashing glass bottles full of paint against a ground of canvas to create a pulsating field of color.

Herrera continued her precise chromatic explorations in the «60s and»70s in works such as «Blanco y verde» (1966), a triangular sliver of green against an austere white field, and «Saturday» (1978), a jet - black canvas interrupted by a thick gold zigzag.

The isolated and decontextualized motorcycle parts and B.S.A. logo are presented in the canvas» center against monochromatic matte backgrounds with an auratic surrounding color field, as can be seen in works such as Gearbox and Carburetor Floatbowl.

The room a claustrophobic teeming heap, as if what Guston wanted to express was pressed up against the canvas attempting to rupture its surface.

Two of the great surprises of the day came in the form of Edward Ruscha's bold Golden Words, 1985, which realized $ 334,600 against a $ 70,000 + pre-auction estimate — one of the highest recent prices paid for a work on paper by the artist — while the bidding on Jack Goldstein's acrylic on canvas Untitled, 1983 exploded much the same as the subject matter of the painting itself, finishing at almost seven times the pre-auction estimate of $ 30,000 + to realize $ 203,150, and establishing a new world record at auction for the painter.

Including the Nauman, the Collection of a Fortune 500 Company accounted for the top five lots in the auction, and seven of the top 10 lots total, with Helen Frankenthaler's stormy acrylic on canvas, Quattrocento, 1984, coming in as the second highest lot in the auction when it brought $ 346,550 against a pre-auction estimate of $ 150,000 +, while Richard Diebenkorn's etching Green, 1986, widely regarded as one of the artist's finest etchings, performed solidly with a $ 262,900 total, exceeding its $ 200,000 + pre-auction expectations.

The paintings at first appear to be simple, pastel depictions of women, flowers, and birds against patterned backdrops — yet each distinct section of the canvas actually derives from a separate woodcut that the artists used as a stamp.

To my mind, Hirst's Spot Paintings are no different in their engagement with art history, as these pulsating canvases of color — ranging from dense fields of tiny dots to a few spare circles isolated against an expanse of white — call to mind Georges Seurat, Hans Hoffmann, Kenneth Noland, Frank Stella, Gerhard Richter, and many more.

He was part of the avant - garde of the early»60s in the Arte Povera movement, pioneered by Alberto Burri, and made art using blue jeans, fabric and camouflage canvas as commentary to speak against the Vietnam war and the pursuit of social status, he said.

His bold colors work against the unprimed, unstretched canvases which serve as both a conforming geometric structure and deconstructed space.

With the red and green picture, I think I just sensed the shape of the canvas as an event, as against the notion of the canvas creating an arena for events.»

Later works include exuberantly satirical works of the 1960s, many featuring the vaguely autobiographical figure described by critic and artist Anne Doran as a «nattily dressed and deeply ridiculous Everyman in mad pursuit of liberty, poetry, and sex»; the pornography - inspired «X-Rated Paintings» of the early 1970s; the «Noun» paintings of the same period (each depicting a single everyday object against a bright, patterned background); the schematic, figurative canvases made in homage to Copley's Surrealist idol Francis Picabia; and the story cycles and morality tales from the 1980s and 90s, including a painting from the installation project The Tomb of the Unknown Whore.

From 1947, the year he began to paint with aluminum and commercial paints, and to «drip» as well as brush his pigment on canvas, Pollock strained against the limits of oil painting.

As he has noted, his use of «push - pull dynamics and the occasional use of illusionistic perspective against raw expressionistic brushwork gives the impression of looking deep into the canvas only to be thrust back to the surface.»

The multiple impressions of the artist's own hand in the upper right corner of Number 1 (1948) emphasize the immediacy of the artist's personal presence and, by contrast, emphasize the vastness of the canvas as measured against them.

In Howe's case, the inaugural trope is a simple goof on the notorious figure / ground dichotomy: each canvas presents a «portrait» of a young woman, usually nude, as often black as white, done in a rather dashing, painterly style reminiscent of the Ashcan School, against a ground that cites Abstract Expressionism or its immediate derivatives.

Against this ground we see those familiar wristy looping marks, with pink, blue and pale green dominant; the earth remains, but is now relegated to a single ochre wedge just off - centre, with the canvas hue acting as the key colour.

In my kitchen reveal, I had really large cutting boards leaned up against the backsplash which is an awesome designer trick for that space, but instead I pulled the cutting boards and used the backsplash as a canvas for the prettiest little heart made of flowers this side of....