Sentences with phrase «as grid paintings»

Lynne started to work on the series that began as grid paintings in 1960s in New York City.

Not exact matches

Curated by Paul Schimmel, the show charts Guston's progress as he played with Color Field painting, moved into grid - like abstractions, and came gradually closer to figuration, combining the visual languages of Abstract Expressionism and Minimalism.

Known for expansive grid panoramas and painted installations, Bartlett's art was aptly described by New York Times critic John Russell as enlarging «our notion of time, memory, and of change, and of painting itself.»

Additionally, Tyler's paintings are reminiscent of the work from past artists such as the simplified geometric grids of Piet Mondrian's later work, color field paintings of Mark Rothko and the early abstract expressionistic work by Philip Guston.

In other works, like Jennifer Bartlett's Swimming Pool (Early 1970s), the grid (silkscreened onto the ground of the steel plate) intrinsically spaces and allocates the site in which she paints her dots as a kind of means to an end.

(Holland Cotter The New York Times) Some of the more significant creations about spirituality, beauty, and painting itself that modernism has ever known... She used the grid as a forum for belief - a space where the viewer as well as the artist could contemplate the hand making the thing being observed.

One might expect that with a square support the components of the grid would be squares also, forming a Cartesian grid in which the two symbolic structures of Modernist formal rigor would reinforce each other, as they do in Reinhardt's black paintings.

By marking the edges of the paintings, she calls attention to their shape as significant, while the nebulous contents of the pictorial field — lacking the order and legibility of the grid — offer few clues to its inner structure and encourage the viewer to lose sight of place.

Here were these irregular grids, beautiful browns as sensuous as the encaustic paintings with these inscriptions, which were to me, very much about the body, about one's reach; whereas the others deny you any access to making, except for the band or the spatula mark.

His kaleidoscopic compositions of overlapping grids and patterns create complex pictorial spaces, and his use of transparent pigments allows the viewer to see, as the artist has said, «all the events that went into the making of the painting.»

It parallels abstract painting as a response to natural light for Agnes Martin — much as the pencil sketches, from 1971, parallel Martin's early grids.

A group of watercolors, installed in a grid, conveys Nickson's idea of painting the same tree as a foil to sunrises and sunsets.

Important paintings on view from this period include Blue Cradle (1956) and Thursday (1960), which feature strong colors and gestures, as well as Crossfield I (1968), which hints at the final phase of Tworkov's career in its grid - like structure and layered lines.

In paintings such as Knight Series # 5 (Q3 - 76 - # 6), 1976, and Knight Series # 3, 1975, compositions adopt a familiar grid system with construction lines and structural points that provide a delicate but firm framework layered with formulaic vertical strokes in rows filling out each square.

Large - scale paintings such as Partitions (1971) and Roman XI (1981) feature Tworkov's gestures confined to complex shapes and guided by lines or grids.

It may mean something that almost all the abstract painting in the show is by women, from Ulrike Müller's small geometric enamel - on - steel pictures, as precious as antique cameos, to Nancy Brooks Brody's black - and - white grids radiant with half - hidden color.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

Early Mondrian: Painting 1900 - 1905 (W1, to 23 Jan) looks at the work that came before the Dutch artist's conception of the De Stijl style's pared - down abstraction, and prior to the move to New York that facilitated his fascination with the grid as a form.

Artists in the following decade continued experimenting with line and grid — questioning the very act and object of painting as they wrested its meanings from the dominance of gesture, as exemplified by Abstract Expressionism in the post-war period.

«Northern Village» is one of the many paintings Klee created that demonstrates his use of the grid as an abstract way to organize color relationships.

McGrath's combination of neon and naturalist colors as well as the underlying irrationality of applied paint behind his grids suggests a wildness in opposition to imperialist thought in American sentiment and sustainability.

Her fascination with language comes through in a large, light - filled calligraphic work from 1965 titled Kufic, as well as in the tightly painted, untitled schematic grid of 1949 that stacks hieroglyphics in meticulous boxes.

This is no doubt why — probably causing great inconvenience to the publishers — Steinberg insisted on an «extra page» in his book Other Criteria (2007), a foldout that erupts like a tongue, rupturing the division between inside and outside and showing the eventual series of paintings that emerged from these drawings as a diagrammatic grid crisscrossed by multiple points of view.

Within the grids and lines on the canvas are not small squares of flat, immobile color, but drips and dimples of very active paint — as if each square could also be a composition unto itself.

Her House Paintings (also known as the Addresses series) were painted from 1976 - 1978 and represented her own house and the houses of her friends that she painted in an archetypal yet unique style, using the grid of enameled steel plates that she often uses.

Binion's DNA studies appear as grids, bearing the graphic style of modernist paintings.

Soon after she covers the whole in dark paint or gold leaf, as if to pin the grid down.

Especially noteworthy and striking are the «Night Landings» paintings, such as «Night Landings: Sambura» (1970), with the city grid glinting below like a dark jewel in a deep, nocturnal blue river valley.

The exhibition begins with paintings based on the square, the grid and architectural details, such as The First Vent (1972).

His exploration of the topography of greater Los Angeles will be represented by paintings that depict aerial grids of the city, as well as various southern California horizons and sunsets.

Bartlett is acclaimed for her analytical and systematic approaches to painting, particularly through her self - fashioned medium of gridded enameled - steel tiles, which she has employed as a type of modular canvas since the late 1960s.

Gaines's practice places him within the legacy of conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.

In the summer of 1972, inspired by the work of Ad Reinhardt, he introduced grid - like patterns of black markings onto these works, which he referred to as his «Cancel» paintings.

In his new works, Close continued his involvement with the grid as an organizing device, creating full - color paintings out of only cyan, magenta, and yellow pigments, and layering colors in singular brushstrokes.

After gridding a reproduction of the painting into 64 rectangles, Steir, over the next two and one - half years, created as many separate paintings, each the size of the original.

Trees, flowers, clay, fruit, ice, sugar, and chocolate have all appeared as regular protagonists in her work, including a carpet of 10,000 flowers left to wilt on a museum floor; a room whose walls the artist painted in chocolate and then invited viewers to lick its sweet but precarious surfaces; and a thirty - two - ton minimalist grid of ice cubes melting in a nineteenth - century water pumping station in east London.

The exhibition begins in Gallery 1 with an array of the artist's early paintings, including her works based on the square, the grid and interior architectural details, such as The First Vent (1972) and Little 9 x 9 (1973).

Black art, elsewhere so dishearteningly co-opted for political statement, here featured as high art; case in point, the pristine oil and stick grid painting on board by McArthur Binion at Massimo de Carlo.

The heavy relief of the grid functions as a way to capture the act of painting as a photographic object or a performance - document.

Although at first glance Winters's images look as if they could have been made by a child, closer attention reveals sly art historical references to Jackson Pollock and Pattern Painting (the drip and splatter backgrounds), Mark Rothko (the three - part horizontal compositions) and Minimalism (the gridded Cherry Block Series: Bread Beat).

For MATRIX 270, Neri contributes a new series of ceramic sculptures that upend traditional representations of the female nude, while McCarthy includes a new group of paintings that explore her characteristic motifs such as grid weavings, double rainbows, and colored bars.

For these works, the artist appropriates signatures from sign - in books from his exhibitions as Buck, and using a one - inch grid, transcribes them — second hand, as it were — onto paintings that the artist bought in thrift stores.

The opportunity to see key early works such as The Red Mill (1911), alongside some of the acclaimed grid paintings with which Mondrian is particularly associated.

Yet while all of the cities charted in these fragments are identifiable, the collaged pieces act as an abstracted gridded backdrop for the painted white circle at the work's center, a simple yet enigmatic form that suggests a face, a cloud, or a moon over a landscape.

The exhibition begins with a recreation of a seminal wall mural from 1986, as well as a number of the artist's monochromatic paintings, including an important gray painting from 1973 featuring undecipherable text and a monumental gray grid painting from 2009 that the artist layered over one of his vibrant Spot Ppaintings, including an important gray painting from 1973 featuring undecipherable text and a monumental gray grid painting from 2009 that the artist layered over one of his vibrant Spot PaintingsPaintings.

The artist transports the viewer to this holistic in - between - stage by reformulating the constituents of painting as similar quintessential dualities: flat surface versus deep space, precision versus ambiguity, material versus ethereal, the grid - like composition of brightly colored dots versus animated, formative fields of homochromatic hues.

Baconian Empericism originating in 16th Century Dutch Landscape painting and finding its way into the grid of minimalist painting is manifest as a series of intersecting metal framings that hold the mirrors in place and distribute the urban scene along a flat grid.

If the gridded letters of Chryssa's Bronze Tablets, of 1956 — 57 appear to derive from Johns's paintings, his decision to realize some of his compositions as Sculp - metal reliefs (beginning in 1958) may have been suggested by her metallic tablets.

Gaines» practice places him within the legacy of Conceptualism, evidenced by works such as his gridded, serial images of trees painted on Plexiglas.

Composed of grids, lines, and geometric shapes, the structures form a volumetric drawing within the space of the gallery, referencing cheap commercial constructions as well as the serial patterning of paintings and sculptures made by Minimalist artists such as Sol LeWitt and Agnes Martin.